6 20 5655 https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/d63211acc63aba2064de5ea85e48cc54.pdf 96b0c4cb73e02bf037e4ccb8420d7432 PDF Text Text �The Rat-Tat existed long before the New Program. Like The Collegian, it was a legacy of the older sort of Johnnies. Rat- Tats were made with great craft and care from the late 19th century to the mid20th, when they tapered off into obscurity. In the 90 's there were some efforts to revive the yearbook under the name The Canvas, and, later, simply Yearbook. The editorial staff of the 2015-2016 Rat-Tat were completely unaware of The Canvas, so we elected to title ours after the older ones which we adored so much. What began as a mistaken understanding about the history of yearbooks has now become a new tradition -- that of sticking to ancient customs and ignoring the new. Yearbooks are funny things. At heart, they are merely an assembly of rather bad pictures taken by well-meaning, inept undergraduates. It isn't the first priority of a yearbook to tell stories, although sometimes that happens. Mostly, it is the job of a yearbook to provide context. Yearbooks are historical artifacts whose use is to aid our memories. Years from now, when St. John's is but a distant glimmer of a forgotten dream, we hope that you pick up this book accidentally. We hope you find yourself straining past the pictures of places and faces into the world which they are a part of. This book is a contemporary document. It is a snapshot of the now. Soon, much sooner than any of us expect, now will be then. And then? What then? We will smirk. I; The 2016-2017 Rat-Tat is dedicated to the I I ; tJ I St. John's College Cooking Club. May it rest in peace. /f~ President: Christopher Nelson Dean: Joe McFarland Assistant Dean: Katie Heines Associate Dean: Emily Langston 1 �The Campus We Live in A;; a beautiful well-maintained outside space in Historic Downtown Annapolis, the campus is a destination for members of the public looking for a pleasant place to walk their dogs. (The administration has of late been trying its best to use the students as foot soldiers in the war of discouraging this, but their efforts always seem to fall flat.) Photographers, wedding-guests, tourists, wanderers, homeless, and all sorts of other bizarre people tramp onto it daily, gazing slack-jawed at the chipped bricks, the brilliant trim, the neat grass, the spectacular history of our campus ... It is not like that for us. To us St. John's College Annapolis is not a mere visitable location. We live here. We know full well that it is not our obligation to get out of the way so that some cheap photographer can take a prom picture, because this is our home. This is the place we see every day, and where our friends are, and where the vortex of our whole livelihood as students is centered. We welcome others, of course, and cherish our guests with the knowledge that they can't imagine well we know the bricks of the quad. Here Greenfield Library are pictures of the campus while it was ours . Woodward Hall (Barr-Buchanan Center) The Sign McDowell Hall World War Memorial The Liberty Bell Chase-Stone House Pinkney Hall Humphreys Hall Paca-Carroll House 3 �Randall Hall The Ptolemy Stone Spector Hall 4 Harrison Health Center Campbell Hall The Boathouse Newly Filled-in Reflecting Pool and McKeldin Planetarium Chancellor Johnson House Hodson House Gilliam Hall Temple Iglehart Carroll-Barrister House 5 �Freshman Seminar Everyone envies the Freshmen the fact that they are Freshmen. "We were Freshmen, once," upperclassmen oft muse, looking sadly into the distance while a herd of eighteen year-olds ash their third-ever cigarette on the quad, talking loudly (and sloppily) about Plato. The Freshmen do seem to read the best books, and they also seem to say the dumbest things. Or at least they're more excited about the things they say than the rest of us are. Or at least they're not yet wise enough to know when they're totally wrong, so they take risks. Make no mistake though: we love the Freshmen. They are so wrong, but we love them. Of course, the class of 2020 is not only a class of Freshmen, but a whole group of individuals themselves. We have been watching you and befriending you. We wish you good fortune as you persevere through the next three years. Goldberg & Freeman Front: Esther Lee, Nancy Hilton, Jawaid Beg, Elizabeth H artzell, Su Karagoz, Sanju Baral, Katharine Wall, Parker James Chlovechock Back: Xiaotang Wang, Beimnet Kebede, Rae-Ann Clement, Zuowen T ang, Mr. Robert Goldberg, Kassem Mansour, Luis Francisco Contreras Moran, Collin Doherty, Louis Mainwaring-Foster, Christopher Franco Not Photographed: Jeo ngmin Kim, Glen Shive! Blaustein & Chaudhri Front: Zachary Leveroni, Jessica Cole, Emma Stewart, Yu Chieh (Cookie) C hang, Mackenzie Daffner, Erica Root, Xiaoxin Liu, Mary Dray, Zainab Ahmad Back: Patrick Ensslin, Aidan Zito, Timon Luo, Thomas Mountain, Thomas Tatum, Xiaoyao Gao, Charles Carpenter, Zihan Mei, Mr. Michael Blaustein, Scott McCrae Beall & Linck Front: Jinghan Zhang, Donnelly Larson, Nicholas Puente, Mary G illespie, Angelika Alberstadt, Martha Campbell, Erica Ridge, Anna Seban , Lilly Scanlan, Julian Zeidler Back- Willi H . · am arnngro n, Nicholas Thorp, Samuel Jones, Samuel Dreyer, Mr. Marrhew Linck, Alexander Albert, ·m Elinatan Nelson , Atanas M.mev, M r. J 1 Bea II , Damon Kurzin Not Photographed: Eireamham Semple 7 �Freshman Seminar Everyone envtes the Freshmen the fact that they are Freshmen. "We were Freshmen, once," upperclassmen oft muse, looking sadly into the distance while a herd of eighteen year-olds ash their third-ever cigarette on the quad, talking loudly (and sloppily) about Plato. The Freshmen do seem to read the best books, and they also seem to say the dumbest things. Or at least they're more excited about the things they say than the rest of us are. Or at least they're not yet wise enough to know when they're totally wrong, so they take risks. Make no mistake though: we love the Freshmen. They are so wrong, but we love them. Of course, the class of 2020 is not only a class of Freshmen, but a whole group of individuals Goldberg & Freeman themselves. We have been watching you and befriending you. We wish you good fortune as you persevere through the next three years. Front: Esther Lee, Nancy Hilton, Jawaid Beg, Elizabeth H artzell, Su Karagoz, Sanju Baral, Katharine Wall, Parker James Chlovechock Back: Xiaotang Wang, Beimnet Kebede, Rae-Ann Clement, Zuowen Tang, Mr. Robert Goldberg, Kassem Mansour, Luis Francisco Contreras Moran, Collin Doherty, Louis Mainwaring-Foster, Christopher Franco Not Photographed: Jeongmin Kim, Glen Shive! Blaustein & Chaudhri Beall & Linck Front: Zachary Leveroni, Jessica Cole, Emma Stewart, Yu Chieh (Cookie) Chang, Mackenzie Daffner, Erica Root, Front: Jinghan Zhang, Donnelly Larson, Nicholas Puente, Maty Gillespie, Angelika Alberstadt, Martha Campbell, Xiaoxin Liu, Mary Dray, Zainab Ahmad Erica Ridge, Anna Seban, Lilly Scanlan, Julian Zeidler Back: Patrick Ensslin, Aidan Zito, Timon Luo , Thomas Mountain, Thomas Tatum, Xiaoyao Gao, Charles Carpenter, Back: William Harrington, Nicholas Thorp, Samuel Jones, Samuel Dreyer, Mr. Matthew Linck, Alexander Albert, Zihan Mei, Mr. Michael Blaustein, Scott McCrae Elinatan Nelson, Atanas Minev, Mr. Jim Beall, Damon Kutzin Not Photographed: Eireamham Semple 6 7 �Salem & Silver T omarchio & Romiti Front: Mr. Eric Salem, Xin Ye, Dorothy Diaz-Sullivan, Aishwarya Sharma, Lucy Ross, Ms. Joan Silver Front: Alexander Kocinsky, Zhengping Zhang, Farma Yokus, Abigail Stuart, Maddie Nell Jane, Julia Cooper, Mary 2nd Row: Elisabeth Morell, Yiran Si, Haire Zhan, Brendan Reicherter Turner, Zachary Flaugher 3rd Row: Emmet Allen, Zach Radford, Axel Krieger Back: Mr. John Tomarchio, Christian Sweeney, Cole Caudle, T yler Mazur, Gus Baganz, Thomas Balding, Robert Back: Benjamin Crispell, Chance Hogan, Tbel Abuseridze, Luke Olson Blankshain, Yixing Li, Logan Zimmerman, Mr. Andrew Romiti Nor Photographed: Samuel Elston Nor Photographed: Kapil Adhikari Abbott & Sinnett Front: Yeajin Yang, Darcy Bohlin, XiaotongJin, Yoon Kyoung Choh, Yunju Park, Mr. Mark Sinnett Back: Mr. Robert Abbott, Jon Prirzker, Mark Wittmer, Reuben Morris, James Rubidge, Matthew Hogan , Pearl Eustice Nor Photographed: Athena Berreles-Luna, Marie Divine, Anton Kalmysh, Jameson Marshall, Alberro Valenzuela Lasell & Sterling From: Jodi-Ann Griffin, Sean Miller, Nolan McEleney, KailaJohnson, Sadie Macdonald 2 nd Row: Mr. Walter Sterling, Gabriela Sanchez, Sila Karabiber, Connor O'Malley, Nishan Dhungel Back: Rose Pelham, Emilio Caruso, Mr. Brendan Lasell, Sam Cooper, Kidus Kebede, Morgan Wheeler, Jared Bass mann Nor Photographed: Emmett Freeman, Rebecca Leigh Cl �Sophomore Seminar The Sophomore class has a particular character which varies neither from year to year nor fro m decade to decade. That character is no doubt a product of their inrermediate position; they are neither old nor young, wise nor foolish, virtuous nor vicious. They know what they are doing; they have learned the rules, and they keep them well. A Sophomore seminar is an orderly institution, but by no means is it a brillianr one. The Sophomores are afraid of being Freshmen once again, and so they avoid asking silly questions, questions which they will not hesitate to ask once they are Seniors. They view the pretenriousness of Freshmen ("Now, I must agree with Leo Strauss on this point ... ") with disdain, but they have not yet the subtlety to counter-balance their hard-won earnestness. They are no longer tadpoles, but who will dare call them frogs? It is often said that Freshman year is wasted on the Freshmen. Sophomore year is most certainly not was ted on the Sophomores. They are the only class that can read the Bible. Upper years would read the Gospels and spend two-and-a-half hours failing to decide what a son is, while the Lenkoski & White Front: Kurt Manion, Mr. John Whire Mr. Jon Lenkoski, Thomas Chrisman, Mackenzie Pererson Freshmen will not pay attention to the words at all. The Sophomores know what words mean (the Middle: Anne Freeman, Grace Villmow, Yu Qing (Iris) Liao, Elaina Bowman, Kesi Dremel. Sadie Funk Class of 2019 was the last to receive lexicons at convocation, which fact the editors of this Back: Aashish Dhaka!, Tyana Dixon, Isaac Hoke, Jack Condie, Alexis Boorhe, John Pell, Mirchell Harris, Raymond publication view with indignation) and can read the text as a text. This particular crop is better than O'Donnell most, as they are more faithful representatives of their type than their recent predecessors were. We wish them good luck, godspeed, and, if they merit it, enabling. 13 Sept. 20 16· Cj Vaughn (A '1 7) and Evan Frolov (A '16) could have enjoyed a romantic picnic next to Gilliam overlooking College Creek. Instead they opted to tum their blanket and feast their eyes on a game ofKunai soc·cer, at which the present writer conspicuously picked a wedgie. I .\ 1\ I\ Kempe & Verdi Fronr: Russell Mendez, Amanda Pauquerre, Kelsey Cumiskey, Chrisropher McGowen, Sophia Underwood, Agnieszka Axer, Michael Simoniello Back: Asher Parker, Mr. Marius Kempe, Marshall Drake, Himanshu Thapa, Ted Voskuil, Zachary Cohen , Weiouqing Chen , Mr. John Verdi Nor Phorographed: Awss Al-Janabi, Adna Arnao ur, Annie Brong, Tianxiang Li 11 �Braithwaite & Lee Dink & Haflidson Front: Mr. Michael Dink, Aisha EI-Khatib, Jing Zhang, Yuan Liu, Kat Mahaney, Jaeyeon Jo, Anna Hubbell, Camille Back: Collin Walker, Seth Kates, Ivan Syritsyn, [Mr. William Braithwaite], Sam Aston, Christian Gordon, Cyrus Testa, Madeleine Weaver Back: Mr. Ron Haflidson, Ethan Pellegrin, Jacob Burger, Dahye Kim, Ty Weiser-Podlech Not Photographed: Rasanjana Bhandari, John Davis, Prasanna Thapa Luther &Yee Mega Row: Alex Dicken, Madeline Edwards, Max von Keudell, Karlena H aase, Neal Bhattacharya, Mr. Bryan Luther, Mr. Cordell Yee, Henry Bartholomew, Stacy Villibord, James Griffin, Sean Mullins Not Photographed: Falon Findley, Patrick Hamann, Zoe Hinman, Prabesh Koirala , Jeong Ho Lee, Yiyang Mei, Yingzi Zhang, Abraham Zhao Front: Thaddia Mantione, Ayushma Thapa, Cordelia Achen, Ms . Christine Lee Schiller, Stuart Lombard, Dane Petchulis, Aisha Shahbaz, Hun Jin H a Not Photographed: Seung Eun Lee, Stryder Zug Fr . . Druecker & Hitz onr. . Cam Sophia Kiang ' Sara h I rvmg, C arson King, M r. Roberr Druecker, Yuejia Zhu, Yaxuan Tang, Ms. Zena Hitz, eron Byerly, Dylan Briceno-H awkins Back: Will van Engen Rh D . . . C ' ys avts, Chnstian Sheppard, G rant Lorello, Layton Aho, Thomas Troop, Peach Holt, Erin ompton, Rachel Goad, Zachary Bowman Ot Photograph ed : J un Hwan Hwang �Gone but not forgotten new bathroom cigarettes Beall & Harrell From: Hanako Hashiguchi, A.J. Sparks, John Monday, Aidan Shaw, Samuel Harder, Louis Petrich Back: Meredith Lehan, Benjamin Haas, Dorothea Bowerfmd, Claire Tucker, Alexander Muradian, Eric Rustine, Matteo Burrell, Graham Ferguson Not Photographed: Ms. Erica Beall, Mr. Daniel Harrell, Desiree Jones, Rachael Langston, Cara Wiley John Himes doing his job The last Wilder Christmas Parry Scootering furtively about 16 Sept. 2016· Patrick Hamann (A '19) napped on the quad after dinner. 14 Joe Garry displ ays h'ts tnner grem I'tn, as . well as the tern'fy·tng Senior Prank shirt New farmy sprouts sprout sproutingly �' ' I Charlie prepares for battle Louis rocks out over something The jolly campus vans in waiting Will Harrington navigates the labyrinth Students huddle behind a comforting glow niors enJ· 0 Y hard -earned champagne Tht> h::~ck c::~mnus hench r::~kes a needed hreak Detritus in the Coffee Shop Ivan Syritsyn preparing �Junior Seminar No year is more infamous than the Junior year. Across countless generations of Johnnies stretching backwards across the infinite lifetime of the college, "Junior year was hell," F rands Scott Key was once heard to have said. It is often thought that the Junior stage in the life-cycle of the Johnny is its most difficult. Feeding on a steady diet of Kant, Hobbes, Leibniz, and other incredibly dense, rich, and difficult forms of sustenance the Junior must be at the height of their intellectual ability to survive and thrive. Throughout this process they are found to have a readiness to take on the challenges of life found on campus with a rapacity unseen in any other grade, taking on even the great challenge of "Reality" with a mixture of bravery and grim determination. Even compared to previous members of this class, the current group of Juniors seem hellbent on devouring and destroying the Seniors who had Ekholm & Higuera previously assumed roles of leadership, assuring us all that the ecology of Sr. Johns will at least have a Front: Ms. Karin Ekholm, Nano Lik.likadze, Hannah Peterson, Jaco b Richey, Isabel August, Cora Allen firm and lively ruling class come next year. Back: Mr. Henry H iguera, Alec Davis, Robert Wyatt, George Ward, Tyler Snyder, Subha Niroula Nor Photographed: Joshua Colon, Jarvis Hunt, Victoria Lockamy, Cyrus Mu.lthauf, Garrett Phelps, Kathryn Malori Richards Holtzman & Kirby Front: Jiaying Yu, Richa Bhattarai, Karhryn Trojanowski, Kira Anderson, Gene Jersky, Robin Lancaster, Lily Kowalcyzic Back: Ms. Margaret Kirby, Jan1es Strack, Mr. Matthew Holtzman, Ramsey Mahaffey, Barnabas Holleran, Shane Hettler, Joe Garry, John Jane III Not Photographed: Michael Hansen, Joo Hyun Song, Mason Troupe 1 0 F Goldner & Page ~~~n.r: Summer Heschong, Joseph Dyer, Nathan Dignazio, Calida Howell, Morgan Anastasi , Caitriona O'Connor, lVJa Frawley Back: Felipe Rego Ar h K h . ' t ur o n, Andre Pellegrin, Sean Daugherty, Jack Cooper, Maggie Dillon, Alec Bianco, Clifford Morns ot Photograph d· C rh . e · a enne Baldwin, Alice Meyer 10 �Arcadia shows off her true self (What does she think about?) Datchev & Schulman Front: Mr. Adam Schulman, Sagar Alyal, Zoe Collins, Simone Louw, Rachelle King, Kevin Lam, Ethan Rogers, Ahn Thy Thi Nguyen r L Back: Minfei Xu, Joseph Loomis, Sarah Gabrielle Moreno, Matthew Voges, Jason Seamen, Jonah Piscitelli, Thomas Springer Nor Photographed: Mr. Radoslav Darchev, Marcus Hoffman, Bennett Wildauer "'I 2ndN'". 2o16, '1''"''"'··· like Catholic jazz. "joe Loomis The world of the somewhat small as viewed Boyle & Russell Front: Elizabeth Skelton, Katelin Safford, Lauren Berlin, Sawyer Neale, Jonathan Grauberd, Allie Matheu, Naomi Johnson Back: Mr. Brendan Boyle, Emily Krause, Michael Schmidt, Woo-Sung AI1drew Kim, John Mooradian, Henry Whittemore, Matthew Manotti Not Photographed: Noah Burns, Mr. George Russell · 1r. lloven and M --- - -----~.:::..:.... s. Frawley discuss something interesting Farmy weeds weed wonderfully WIB) ~ �Senior Seminar The Senior class has found itself in rather an awkward position at campus events this year. Rarely can they succeed in mustering enough enthusiasm to bother showing up to anything (rehearsal, meetings, class, orals, &c.). When they do find themselves somewhere, they invariably employ a slow-moving, conservative approach to action. Gone are the days when we as freshman could get away with excitedly trying to "get somewhere" with Plato and Aristotle, or "do something" in the Delegate Council or KWP. Nothing matters now. Junior year taught us that no matter how much work we put into something it will turn out just as bad. Senior year has taught us that no matter Burke how easy it is, it will make just as little sense. Front: Ashleigh Mierau, Kaydin Gochenaur, Jiangxue Ning, Alina Myer, Elizabeth Akhvlediani Back: Jakub Piven, Joseph G illespie-Hill, Lucinda Wright, Mr. C hester Burke, Owen Forbes, Joshua Peele, Eric Wifall, Casey Collier, Charles Demon Not Photographed: Camille Gagnier, Jaco b Logan-Baer, Daniel Hamilron Barbera Front: Mary Christman, Xiuyuan Zhang, Maura Sugg, Huibo Li Back: Ti Hsu, Connor McCourt, Mr. Charles Barbera, Cj Vaughn, Daniel Wilson, Matthew Langhinrichs, Grant Mortimer, Jon Shrestha, Peter Annee, Emmy Titcombe Not Photographed: Danielle Brown, Maura Sugg, Leyla Tortamis, Ari Tsakos F Benson & Caswell rom: Peter W t er, Eze k"te l Lemann, Erica Seman, Owen Morgan "ld Backl: Ms. Sarah Benson, H unter Larkin, Joshua Nichols, Nicholas Shaw, Jake Israel, Ripley Stroud, Sasha Gesmer, H ay ey Dunn S I . C I . ' 0 P lte o t, T tanren Zeng, Sebastian Barajas, Maria Solyga, Mr. Matthew Caswell ot Photogra Phed : C oI"m Shott �Brann & Hintze Recco Fronr: Kit Rees, Ms. Eva Brann, Ms . Hannah Hinrze, Alex Kudzrycki, Jessica Benya Front: Claire Racette, Abigail Purnell, Johnn y Pineau Back: Scort Chevaillier, Maxwell Swan n, Ambrose Donnelly, Jonathan Gordon, Stephanie Hurn, Wesley Sonheim, M iddle: Jermai ne Brown, Bianca Lora, Journie Kirdain, Sophy Schulman, John Himes, Decca Dennen Grace Arhanas-Linden Back: Mr. Gregory Recco, Sam Mentas, Stefan Vasic, Nathaniel Blumenstock, Remy Gaudin, Thomas Pack Not Photographed: Nathan Huey, Patrick Turley Nor Photographed: Jasper Ford-Monroe, Connor Hocking, William Kinum, Margaret Rodgers, Bonnie Scort 26th February 2017: "Senior Year ofSt. johns College is quantum jI ,I mechanics and racism. " Kalkavage Fronr: Nathan Griffith, Kaitlyn Bredeson, Mr. Peter Kalkavage, Tristan Janes, Noemi Ramirez, Zachary Gold Back: Haley Ford, Sihui Ma, Collin Ziegler, Salomea Jankovic, Garri Saganenko, Maryberh Beydler, M adeleine Banks, Jonathan Llovet Not Photographed: Jenny Cawood, Gabrielle Feliciani, JuChan Park 24 25 �Brann & Hintze Recco Front: Kit Rees, Ms. Eva Brann, Ms. Hannah Hintze, Alex Kudzrycki, Jessica Benya Front: Claire Racette, Abigail Purnell, Johnny Pineau Back: Scott Chevaillier, Maxwell Swann, Ambrose Donnelly, Jonathan Gordon, Stephanie Hum, Wesley Sonheim, Middle: Jermaine Brown, Bianca Lora, Journie Kirdain, Sophy Schulman, John Himes, Decca Dennett Grace Athanas-Linden Back: Mr. Gregory Recco, Sam Mentas, Stefan Vasic, Nathaniel Blumenstock, Remy Gaudin, Thomas Pack Nor Photographed: Nathan Huey, Patrick Turley NO[ Photographed: Jasper Ford-Monroe, Connor Hocki11g, William Kinum, Margaret Rodgers, Bonnie Scott 26th February 2017: "Senior Year o St. johns College is quantum if 1 : 1 I mechanics and racism. " Kalkavage Front: Nathan Griffith, Kaitlyn Bredeson, Mr. Peter Kalkavage, Tristan Janes, Noemi Ramirez, Zachary Gold Back: Haley Ford, Sihui Ma, Collin Ziegler, Salomea Jankovic, Garri Saganenko, Marybeth Beydler, Madeleine Banks, Jonathan Llovet Not Photographed: Jenny Cawood, Gabrielle Feliciani, JuChan Park 24 25 �Scott Chevaillier looks amusing Health-conscious freshmen check for lice Collin and Jonathan compare shoes Ponderin' Randall at her most charming An expedition in process Seniors staying at work being themselves T bel is probably thinking abo ut ants Arcadia Spector living her life. 26 What do dogs think about? Waltz Committee in Full Swing Mifield retrieves his paycheck Red steps await rain 27 �St. johns College Senior Class of2017 Yes yes, you have already seen the faces of the graduating class in their diverse seminars, but it is alas necessary (nay, vital!) that we honor them still with poingant vingnettes. It's just one of those things. Bear with us. You non-seniors will get to take up 118th ofa page with your leering countenance soon enough. Elizabeth Akhvlediani Peter Annee Marybeth Beydler Nathaniel Blumenstock Kaidyn Bredeson Dani Brown "In Purs uit of Political "The Trials and "More than a Scientist: "Tawards the Attainment "Separation Anxiety: The "In Search of the Absolute-- T rib ulations of Reason: On Complementarity between an of Reason--T he Process of Ro les of Equality and 'Self How Maxwell's Contradiction's Role for Individual and Community in Becoming a Citizen of the in John M il ton's Paradise Electromagnetic Hammer Secure Knowledge in Kant J. Robert Oppenheimer's City of God" Lost" Came Down on Relativity" and Hegel" Science and the Common Happiness" Understanding" Grace Athanas-Linden Sebastian Barajas Jessica Benya Jermaine Brown Jenny Cawood Scott Chevaillier Mary Christman "The First Part ofKing Henry IV: What does Hal, "Death is Inevitable, to "Paternal Power in Locke's "Kierkegaardian Truth: "The Relationship Between "'My Life Stands in the "Jaques: Shakespeare's "A Name for Ourselves-- Fear it is Optional: An Two Treatises of Whether the Socratic and Space and T he Human Level of Your Dreams': An Beautiful Soul " Exploring the Political the Rising Son, Think of Exploration of the Ways Government " the Theological Methods Mind: An Evaluation of Exploration of Monstrosity Nature of Man Through Honor?" We Come to Understand are Different in Degree or Kant's Transcendental and Humanity in The Genesis and the Tower of Our Own Mortality " 28 Madeleine Banks in Kind" Aesthetic" Winter's Tale" Babel" 29 �Casey Collier Sophie Colt Decca Dennett Charles Denton Haley Ford Jasper Ford-Monroe Camille Gagnier RemyGaudin "Defining Fate in King "Death at the Party: "Though Mayest Triumph "'Play the Game' : Language "The Real and the Ideal -- "'Not by Reason, but by "'The Growing Good of "God's Great Mathematical Damming the Ebb and Over Sin as Activity in Ludwig A Search for Goodness in Life' -- A J ustiflcation of the World'-- Sympathy Waltz" Wittgenstein' s Philosophical Geo rge Eliot's Lear II II Flow of Mrs. Dalloway' s Consciousness Investigations II II Middlemarch" Fiction with Reference to War and Peace" and Reform in George Eliot's Middlemarch" Ambrose Donnelly Gabrielle Feliciani Owen Forbes Sasha Gesmer Joseph Gillespie-Hill Kaytlin Gochenaur Zachary Gold "Michael Faraday Describes "Faith without Pain is "Man's Possession of "The Point and the Atom: "The Role of the Individual "'To Be More Than What "The Sublime in Paradise "Ducdame" Magnetism Heuristically" Dead: A Meditation on the Truthiness -- An Essay On Indivisibility and in War and Peace" You Were'-- Masculinity Lost-- An Exploration of Necessity of Pain for Fear Interconnecting Language, Continuity" in Shakespeare's Macbeth" Hell, Chaos, Heaven, and in Soren Kierkegaard' s Fear Politics, and the Human and Trembling" 30 Hayley Dunn Experience" Earth" 31 �Jon a than Gordon Nathan Griffith John Himes Connor Hocking Salomea Jankovic William Kinum J ournie Kirdain Alex Kudrzycki ''I'll Weep" "Hegelian Hermeneutics: "Communication, "Beyond the Dear Self-- "What is a Curve? A Search "Life, Death, and Faith: An "Genesis on Shame" "Imperfection -- The Role How We Read the Paralysis, and Distant On the Possibility of for Contin uity in Leibniz's Investigation ofHeroics in of Death as Life's Phenomenology" Music in The Dead' Selflessness in Kant's Calculus" The Brothers Karamazov" Conclusion in Hegel's Philosophy ofNature" Grounding for the Metaphysics ofMorals" Ti Hsu Stephanie Hum Jake Israel Tristan Janes Matthew Langhinrichs Hunter Larkin Ezekiel Lemann Huibo Li "Must Eros be Winged?-- "'A More Gentle Sensation' "The Devil in All of Us: An "Every Man Dies Alone: "For the Love of God: "Meursault: A Stranger "Geometry and Necessity" "Why Make Friend with On Love in Plato's -- Love in Pride and Examination of Good and Life and Death and Love in Andrei Bolkonsky and the View of Meaning" Phaedms" Prejudice" Evil" The Death ofIvan Ilyich" Trial of Faith" Pity? An Inquiry into Modern Ethics in Light of Rousseau's View of Human Nature" 32 33 �Jonathan Llovet Jacob Logan-Baer Bianca Lora Sihui Ma Gram Mortimer Alina Myer Joshua Nichols "The Law and the Roman: "Eliot's Heroine Addiction: "The Probability Function "The Apocalypse of the Jiangxue Ning "Figuring God's Lyre-- "Immediate Conviction -- "Rise and Fall: A Study of The Righteousness of God" Understanding a Grear in Quantum Mechanics: A Hallow Man -- An "The Meaning of Suffering: Thought Community and An Examination of Aeneas and the Final Scene Woman Limited by the Formal Cause Beyond Investigation of] oseph The Transformation of Action after Reconciliation Rationality and Reason in of The Aeneid' Ignorance of Provincial Space and Time" Conrad's Heart of GuLliver s Travels" Raskolnikov in Crime and in Hegel's Phenomenology of Spirit and Philosophy of History" Life" Punishment" Darkness" Connor McCourt Sam Mentas Ashleigh Mierau Owen Morgan Thomas Pack JuChan Park Joshua Peele Jean-Claude Pineau "The Topography of Being "The Evolution of "The Evolution of a "Man and Amoeba: "Ranco r and "Freedom in Obedience in "Reaching the Palinode: A "When the Music is Over -- Being, Phusis, Alatheia, Emotional Maturity in Woman: The Character of Recognizing the Biological Reconciliation: Lincoln's Paul's Epistle to the Reading of Plato's -- An Exploration imo the and Logos in Martin T olsroy' s War and Peace" Fate and Tess' Reaction to Basis of Our Being" Charity as an Element of Romans" Phaedrus" Purpose of Art and Music" Heidegger's Introduction to Metaphysics" 34 It in Tess ofD 'UrberviLles: A his Statesmanship" Pure Woman Faithfully Preserved' 35 �Jakub Piven Abigail Purnell Claire Racette N oemi Ramirez Bonnie Scott Erica Seman Nick Shaw Colin Shott "'We prosper well in our "If Men Were Angels-- "Between the Heaven and "'None is so Disgusting': "Sweetbitter Eros: On "'Accuse Not Nature' : An "The Rage of Cali ban: An "The Possibility of return': An Essay on Machiavelli's New Science the Earth: An Exploration An Exploration into the Longing in Sappho's Exploration into the Inquiry into Beauty and Internationalism: Prospera's Magic" and the American of Humanity's Identity as Anatomy of Temptation in Fragments" Anatomy ofTemptation in Corruption in The Picture Institutions, Custom, and the Image of God in Flesh" Milton's Paradise Lost" Milton's Paradise Lost" ofDorian Gray" Legitimacy in the Social Experiment II Contract Theories of Rousseau and Kant" Katherine Rees Margaret Rodgers Garri Saganenko Sophy Schulman Jon Shres tha Maria Solyga Wesley Sonheim Ripley Stroud "Mouth-watering "Humean Life" "A Quest to Capture Mirth "The Reverberations of "On the Paradox of "The Soul of a Karamazov" "The Virtuous Yahoo and "'Great Captain, a Fair Providence -- How in A Midsummer Night's Speech in the World of Quantum T heory" Other Problems: Travel's Wind and the Honey Huckleberry Finn Finds Dream" King Lear" Ruinous Effect Upon Lights of Home are All Lemuel Gulliver" That You Seek'" His Appetite for Change" 36 37 �Maura Sugg Maxwell Swann Emmy Titcombe Leyla Tortamis Eric Wifall Peter Wilder Daniel Wilson Lucinda Wright "The Unsung Hero -- An "An Exploration ofVisual "Floating Downriver: A "After Human Nature: An "Oedipus and the Sphinx -- "Looking Through the "Fulfillment in Family, "Reunion, Regeneration, Exploration of the Power of Imagery in Baudelaire's Journey of Moments in The Inquiry into Marx's An Inquiry into Inner Eye: An Exploration Family in Fulftllment" and Renewal: An Silence in Mozart's Magic Poetry" Adventures of Huckleberry Finn" Concert of Alienation" Understanding the Self in into the Mental and Moral Exploration ofWeeping in Beyond Good and Evil' Forces of Clausewitz On Milton's Paradise Lost" Flute" War " Claudia Joy Vaughn T ianren Zeng Xiuyuan Zhang Collin Ziegler Nathan Huey "Knock, Knock, Knock. Stefan Vasic "'N o p urpose: Wh en "'Unhistoric Acts': "Communism, Capitalism, "How Will I Love Thee, "The Significance and "Why Should We Think Who's There? An Reason Falls Asleep in The Altruism, Friendship, and and Marx's M aterialism" Thou Suffering One?-- An Transformation ofWotan's About Music?" Exploration of Identity in Brothers Karamazov" the Happy Life in George Inquiry into the Will in Wagner's Ring" Eliot's Middlemarch" Relationship between Love Aristotle Tsakos William Shakespeare's The Tragedie ofMacbeth" Patrick Turley I and Self-Overcoming in F.W. Nietzsche's Thus Spoke Zarathustra" 38 39 �Kunai In tram urals Inrramurals and Kunai were played nearly every week during the 20162017 academic year. It turns out there are quite a few folk are working Loungin ': Simone Louw MiddL Z oe Hinman, SaLLy Jankovic, Su Karagoz, Ash Leigh M ierau, Sophia Underwood, Beebs HartzeLL, e: Martha CampbeLL, KarLena Haase Back: KeLsey Cumiskey, jodi-Ann Griffin, Cookie Chang, LiLy KowaLczyk, Bianca Lora, CLaire Racette, Grace Athanas-Linden, Marybeth BeydLer, Hanako Hashigushi, CordeLia Achen. Rae-ann CLement very hard to perpetuate perfect motion outside of lab class. Athletics director Chris Krueger impressed many with his willingness to work with the D.C. and respond to emails quickly. He was joined by the Historical European Martial Arts following Intramural captains: Greenwaves Jakub Piven, Jermaine Brown, and John Jane III; Spartan Grace Athanas-Linden, Guardians Josh Nichols, Robin Lancaster, and Tyler Snyder; Druids Joe GillespieHill, Stefan Vasic, and Stephanie Hum; and Hustler Scott Chevaillier. They are joined in their merit by Kunai captains Grace ArhanasLinden, Claire Racette, Bianca Lora, Ashleigh Mierau, Cordelia Achen, Simone Louw, and Sally Jankovic. A guest instructor, Thomas Chrisman, Erin Compton, jason Seman, Anna HubbeLl, Sam Aston, Thaddia Montione, CharLie Denton (Archon) 40 41 �Croquet 2016 Reality Due to the publication schedule of the Rat-Tat, it is impossible to There has been a recent trend of changing the names of beloved Reality parties, and this has continued this year. What was once S&C is now the Achilles' Rager. What was once Senior Shit Show is now Senior Essay Party. What was once the J Edgar Hoover Drag Ball is now the Break Down the Walls Ball. Reality 2016-2017 has dutifully thrown the requisite parties in a clean and administration- show pictures of the 2017 USNA-SJCA Annapolis Cup. However, ast since there are plenty of pictures lying around from L year, and every croquet is basically same victory played out in slightly different costumes, we have taken the liberty of showing pictures of last year's victory. Imagine that it was this year's. It will make our loss less disappointing. sanctioned manner. There is beer which has been paid for by the office of the Director of Student Services, music which is fine, and usually edibles. Parties have occurred on time, as advertized, and completely respectably. Never before has Reality been so clean, so nice, and so lovingly accommodating. It cannot be overlooked that the usual messy craze has been all but absent from the Reality parties this year. There is a grunge which has fled. Things are too bright, decorations are too visually pleasant. None of this is necessarily the fault of the Reality Archons this year. T hey are merely part of a wider trend. Still, it is good to remember that, in years past, Reality put freshman in cages. Front Row: jared Bassman(n), Shane Hettler, Robin Lancaster The Reality Archons swimming in money stolen from the smaller clubs. Isabel August, Sawyer Neale, Felipe Rego, Alice Meyer, john j ane III, Kate/in Safford 42 Back Row: Ambrose "The Mongoose" Donnelly *, Alex Muradian, Sean Miller, Stephanie Hurn, Mack Mcgowen, Joe Gillespie-Hill, Mifield Xu, Stefan Vasic, Tyler Snyder, Rhys Davis, john jane IlL Subha Niroula *Exhibitionist Emeritus 43 �Waltz Committee The King William Players Front: Christian Gordon, Eli Nelson, Asher Parker, Timon Luo, Cyrus Multhauf Andrew Kimmmmm, joe Garry (Archon, obviously), Sarah Irving (Secretary), Christian Sheppard, Chance Hogan, Wesley Sonheim, Zachary' Gold, Patrick Ensslin, Sophia Kiang Front: Claire Racette, Owen Morgan, Maura Sugg Middle: Stephanie Liu, Cat Baldwin, Martha Campbell, Beebs Ha11zell, Hanako Hashiguchi, Cj Vaughn, Sarah Moreno, Back: Collin Ziegle1~ Emma Stewart, Kat Mahaney, Zoe Collins, Desiree jones, Athena Berreles-Luna, jaeyeon jo, Angelika Alberstadt, Alina Meyer, Peach Holt, Kit Never Stops Talking, Charles Carpenter Simone Louw KWP is the oldest student club on campus, and it remains strong. It is constantly reinventing itself into a better Back: Rae-ann Clement, Rachael Langston, Weiouging Chen, Christian Gordon, Zachary Cohen, Mifield Xu version of the club it was before, and then immediately ruining its new self with overambition. Still, this year was a good one for KWP. There were two shows each semester: As You Like It (Dir. Alex Warren), Lysistrata (Dir. Ripley Stroud) , Too Much Light Makes the Baby Go Blind (Dir. Joe Garry), and Spring Awakening (Dir. This year was the first year that the Waltz Committee was able to serve alcohol, and they did so admirably. All of the Sarah Irving). staples were there in fun, swingy madness: The Welcome Back Waltz, The Sock Hop (in which Zeke Lemann finally secured the limbo victory he always deserved), The Valentines Day Waltz, Homecoming, and what seems like it musr have been a dozen others. There were some rumblings about a possible return of the fabled Space Waltz, but quite sadly it did not come to fruition. Doesn't Cat Baldwin make lovely posters? As You Like It 44 Lysistrata 45 �Madrigal Choir Bigger than Primum Mobile, the Madrigal Choir sings with almost as much polish; smaller than the St. John's Chorus, the Madrigal Choir sings with almost as much lusty vigor. They occupy a happy mean, and we always look forward to hearing them. Mr. Eric Stoltzfus, Eric Evans, jack Mooradian, Alec Bianco, Nathan D'Ignazio, james Strack, Mr. Thomas May, jason Seaman, jermaine Brown, Polly Mitchell, Ms. Gisela Berns, Olivia Frawley, Ms. Susan Paalman The St. John's Chorus Under the enthusiastic direction of Mr. Peter Kalkavage and Archon Maura Sugg, the St. John's Chorus absorbed Primum Mobile (and emitted) eight motets. These motets, by such esteemed composers as Bruckner, Palestrina, Schutz, and Gjeilo. told of crocodiles, unicorns, and Jesus. The St. John's Chorus gives practical s~pport to a core belief of St. John's, It seems that the otherwise good people of proudly self-selected institution that it is: if you show up and work hard, you can do something beautiful. Primum Mobile have it in for the Polity. Why else would they insist on performing so few times a year? Why else would they inflict Contemporary Choir ages of agonizing would they let our ears atrophy and rot, They have been working on a Latin piece, "Daemon lrrepit wait upon us? Why else withholding the sweet sweet nectar of their Callidus," heavenly song? some French pieces which by Morren Lauridsen that are settings of Rilke poems, "La Rose Suffice it to say that they sing very well and Complete and we all wish that they would perform more Dirait-on," and an African-American often. spiritual, "Witness," by Jack HalloranThey always sound both hydrated and Lauren Berlin, Maura Sugg, Nathan D 'Ignazio, Alec Bianco, hydrating. Zoe Collins, Cat Baldwin, jasper Ford-Monroe, Mr. Eric Stolzfus Front: Zoe Coffins (Archon), Cat Baldwin, Yun ju Park, Falon Muire (Vice Archon), Lily Kowalczyk, Lauren Berlin (Archon), Back: Maura Sugg, Tianxiang Li, Parker Chfovechok, Nathan D1gnazio, jasper Ford-Monroe, Ben Haas, Alexander Albert, Mifieid Xu, Christian Gordon 46 47 �St. John's College Orchestra Spirit of Radio Club The St. John's Orchestra is a living The Spirit of Radio Club was born testament to the marvelous perseverance of innocent desire: to listen to and johnnies in the face of blinding apathy. In the first semester, the St. John's music without negative repercussions. it's impossible for Spirit of Radio to pro College Orchestra performed selections from yo u from negative social reactions to Mendelssohn 's opinions on Queen, at least they won't b Dream" at the Opening Ceremony for the them up in your don rag. We hope. Mitchell Gallery's First Folio Exhibit as well "A Midsummer Night's as a winter concert. The early Romantic work proved a challenge in regards to both instrumentation and difficulty, bur the orchestra succeeded due to the combined efforts of student arrangers, instrumentalists, F Maura Sugg; Collin Ziegler; Nathan Huey, Patrick Hamann, Tianxiang Li ront: Back: Ms. Gisela Berns; Thomas Springer; Toby Valenzuela, Emmy Titcombe, Thaddia Mantione, Grant Lorello, Ben H aas (Archon), Dane Petchulis (Archon), C ordelia Achen (Archon), Morgan Wheeler, Esther Lee, Grace Villmow, Sam Aston, jason Seaman, Ivan Syritsyn Xiaotian Wang, j ames Strack, Camille Gagnier, john Pel! O fficers: Maura Sugg (Conductor), Collin Ziegler (Conductor and Administrator), and new conductors. In the second semester, the orchestra pushed irs limits even further by performing the entirety of Mozart's Symphony No. 36. Nathan H uey (Archon), Patrick Hamann (Conductor), Tianxiang Li (Conductor) N pictured: Stuart Lombard, Kaytlin Gochenaur, Reuben Morris, ]en Ongley ot Equant In their own way, Equam reminds us that a Student Jazz Coalition world of popular culture outside of St. John's exists. It is unclear what punishment The Student Jazz best befits this crime, so we will continue Coalition is a most awkward bunch. Are they a merry bunch of begrudingly listening to their cheerful voices misfits? A pretentious collection of pompous until we enter the world again. Equant, you braggarts? A selection of reallyreally good make us hum. How dare you. friends? Nobody knows, but they play music in places sometimes, and they're pretty good. At least we think so. We are grateful to all of them for conspiring down in the dungeon called "The Rock Room" to make music and lose a few years of their lives due to the Front: Maura Sugg, Ari Tsakos, Kate/in Safford, Kat Mahaney, Alina Myer, asbestos. Sadie Funk, Lauren Berlin Back: Tianxiang Li, Lily Kowalczyk, Mifield Xu, Christian Gordon, Ethan Pellegrin, Stephanie Hurn, Alec Bianco Brenda n Rezcherter (baruone saxophone), john Pel! (bass), Dylan Hawkins (vice . . archon . C ' pzano), Patrick Hamann (archon, tenor saxophone), Nathan Huey :rnpet),]ack Mooradian (drums), Collin Ziegler (alto saxophone), zlliarn Ki Ar mum (guitar, Keebler ELfSongs) l VOt 48 p· zctured: Ezekiel Lemann (bass) 49 �The Delegate Council Senior Prank The Delegate Council dealt with a budget with means of doubtful constitutionality, means which angered shorrfall TBD . everyone almost. Some Seniors, taking their cue from Marbury v. Madison, talked about reviving the Polity Court; being Seniors, they decided not to press the point with any vigor. The delegates are also tending rowards greater eccentncny. They have nor responded to our emails suggesting they communicate with Equant. To be fair, the D.C. did its job, as the clubs all received Front: john jane III (Polity Attomey), Kate/in Safford (Polity Herald), Sawyer Neale money in an arguably timely fashion. (President), Ivan Syritsyn (Treasurer) Max Swann, Kit Rees, Wes Sonheim, Patrick Turley, joe Garry (the Back: Andrew Kim, Sean Miller, Hunter Larkin, Alec Davis, jacob Logan-Baer, Cannon) CoLlin Doherty, Christian Sheppard, Cyrus Schiller, Alice Meyer, Martha Campbell, Peter Wilder, Stuart Lombard Not Pictured: Louis Mainwaring Foster, Matthew Manotti, Maxwell Swann, Sophia Underwood The Student Committee on Instruction Storytellers' Guild The Student Committee on Instruction had a Often squirreled away in the fairly successful year; Plato in the Spring is ongoing, and the sem111ars are warming embrace of the Chasemenr, consistendy attracting at least nine students, and occasionally a the good folk of Storytellers' are tutor or two. Shakespeare in the Fall did not welcoming to all who enjoy the happen, despite Mr. Freeman's suggestion that spinning of a fine tale. Some of the they ask more 'literary -minded' tutors, to which stories include such riveting works as we reply that all tutors have minds, and hence are "The Secret Children of Mrs. Lasell" capable of being literary-minded (see Buchanan and the phenomenal "A Fistful of quote, Brann, A Tutor's Wild West second srory Barr-Buchanan When asked what Adventure." Whatever the story, one Kevin Lam, Cyrus Mu!thauj Ambrose Donnelly, Shane Hettler (Chair), Ripley they'd like to convey in their caption, the officers Stroud, Zachary Gold (Chair), Alex Muradian, Cordelia Achen, Francisco wrote the following: "Please come to forums. Contreras Moran C" should cozy on up by the fire, stay a Jessica Benya (Archon), Sebastian Barajas, jasper Ford-Monroe, Not Pictured: jacob Logan-Baer, Louis Mainwaring-Foster Thomas Troop (Vice Archon), Stuart Lombard, jason Seaman, Jonah Piscitelli Center/Woodward Hall). they're usually on Thursdays." "I love the D. · "I love the D.C. Come out ro croquet, we practice Anna H ubbell, Quinn Shive!, jacob Burger (Virtue Archon, for now), Eli Nelson, while and listen. tuesday and Friday at 3:30 on the front lawn." 50 51 �Project Polity Pink Triangle They do good. Despite the institution of our dubious studyabroad program, the membership of Pink Triangle adds up to exactly one hundred and eighty degrees, making them the most progressive geometrical shape on campus. Bur don't let the quad hear you ... julia Cooper, Stefan Vasic, Cordelia Achen, Ramsey Mahaffey, Evan Rossi, Karlena Front: Chance Hogan, Athena Berreles-Luna, Sadie Funk, Meredith Lehan Hasse, Stephanie Hurn, Grace Athanas-Linden, joe Gillespie-Hill, Rachael Langston Back: Rose Pelham, Christian Sheppard, Desiree jones (Archon), Aisha El- (Archon), Simone Louw, Cara jane Wiley, Ben Haas, Decca Dennett, Tyler Mazur, Khatib (Archon) john Davis, Zoe Hinman (Archon), Nolan McEleny, Will Van Engen, Mary Turner, Aidan Shaw, Neal Bhattacharya (Archon), Christian Gordon Not Pictured: Adna Arnaout (Archon) Maryland Student Black Student Union Legislature It is BSU's first year as an official, chartered club. They threw a Harlem Nights themed Members Black History Month Celebration at the end of Legislature Februa1y and hold biweekly meetings where of the Maryland acknowledge two Student terrifYing realities: we are students, and laws exist. they talk about topics such as beauty and use Instead of nying to ignore the intricacies of movies, experiences, and discussions to learn local and state government until graduation more about black culture. -- as a normal, decent St. Johnnie might -MSL has attended the Winter Leadership Summit at Thorpewood Lodge and Winter Session at Hood College. MSL members have written legislation aimed at improving Darcy Bohlin, Mary Gillespie, Reuben Morris, james Griffin, Chance Hogan, Rose Pelham, jessica Cole, Kaila johnson, Desiree jones, Dorothy Ms Stuart Lombard (Chair), Mr Nicholas Thorp, Mr Cyrus Schiller, Mr Maryland, and have actively contributed to D iaz-Sullivan, Athena Berreles-Luna, Tyana Dixon Henry Bartholomew (Minister ofFinance), Mr Tyler Mazur (Secretary), Mr Samuel Aston (Vice-Chair) debates on other legislation, including a Resolution to teach Philosophy at public schools. 52 53 �His to ria Board Game Club There has not been a single late Friday evening this year when the Coffee Shop has been free from the sounds of dice rolling, cards shuffling, jowels munching, and steady authoritative strategizing. It is a loyal, lively time down there. Thaddia Montione, Sebastian Barajas, Sam Aston, Abraham Zhao, Sean Daugherty, Elinatan Nelson, Thomas Crispen, Thomas Troop (Archon), Front: jonathan Llovet, Nathan Huey (Vice Archon) Flora Zhang (Archon) Ripley Stroud, john Moore, Henry Bartholomew, Matteo Burrell Cordelia Achen SophyMa Back: Abraham Zhao, Matteo Burrell, Samuel H arder, Seth Kates, Dorothy Bowerfind, Lydia Lee, Olivia Frawley We are always suspicious of new publications; after all, aren't there a lot of thin and unread copies of various periodicals crowding coffee shop tables? H istoria, however, has attracted editors, contributors, and even the odd reader, thus proving itself, if not indispensable, at least worthy of its keep. Epoch Energeia This year The Epoch broke its own record. It As ever-always, Energeia has remained managed to spend a record three weeks potent this year. They tried their hand as scattered across the Coffee Shop tables a party planning committee with the without anyone bothering to notice it, lee excellent Energeia Launch Party, as well alone read ir. Of course, it has been very as expanded into radio with the "Johnnie successfully published in spite of this. Talk" podcast. As if this were not enough, The Epoch continued to supply the Polity they have supplied several healthy publications. wirh homegrown musings of the political problems of America and the world as they take place around and outside St. John's. Front: Calida Howell, Dahye Kim, Dorothy Bowerfind Sawyer Neale (Archon), Stuart Lombard, Ivan Syritsin, Morgan Anastasi 54 Back: jakub Piven, Abigail Purnell 55 �Spanish Poetry Club Farm Club The Farm Club has not yet succeeded m its ultimate goal of over-growing the Dining Hall. Maybe next year... "We tried to translate "Oraci6n del Camino" by Cesar Vallejo," said the entire Spanish Poetry Club in unison. i "El Grupo de Poes.ia Espafiol intent6 entender «0raci6n del Camino» de Cesar Vallejo. Realmente, lo 3 Sept. 2016: The Farm Club found a black widow while weeding the communit')l garden, sparking a conversation about the relationship of man, animals, gardening, and intentamos." Dijeron todo el Grupo de Poesia Espaiiol. imperialism. There were no survivors. jakub Piven, Kit Rees (chewing Owen), Claire Racette (chomping Morgan), Ramsey Mahaffey (munching Max), john Himes (crunching Swann) Owen Morgan, Ambrose Donnelly, jakub Piven Not Pictured: Mr. Nicholas Maim-ellis, Francisco Luis Contreras Moran, Enrique Pallares, Sophie Colt, Gabriela Sanchez, Camille Gagnier DarkRoom Christian Fellowship One half of the dark room was overtaken by a highly precise complex of (very expensive) The Christian Fellowship built on its 2,000 laboratory equipment to pamper first semester years of hard work and earnest effort. seniors with some smattering of quantum experiments. The other half, We have no doubt that the Fellowship will however, continue to exist for some time; perhaps for remaining unbrighrened by lasers and sweaty the amount of time remaining. seniors, continues to further the hobby of film photography here at St. John's. Elaina Bowman, Charles J Carpenter, jared Bassman, Sam Cooper, jack Cooper Not Pictured: Rose Pelham 56 Front·· Al.ex H.eznes, Anne Pht.1 . Rachaef Langston, Rachelle King, jiaying . lzps, Yu ' Ot . Frawley, Katelin Safford zvza Back: D . . ane Petchulzs, Barnabus Holleran, T] Thzgpen, Ellie Morell, Anthony Cole, Kathl. . j errn een, Nolan, jonathan, Matty Manottz, jason Seaman Jan Amrit ' ' ' ame Brown, ]ames, Nathan, George, Brady Lee, Isaac . 57 �The Tutors f he tutors of St. John's college is where it's at: they do all the academic legwork of the school and are constantly very busy. Naturally it's really, really hard to get pictures of them when you aren't trying that hard, and, v we'll be honest: we didn't try all that hard. It hasn't really been a ell, 1 rradirion in the recent past to include a whole roster of the Tutors (for Johnnies trying to serenade prospies rhere are many, many, tutors), bur we wanted to say something, right? I mean we really owe so much to the tutors. Tutor faces and mannerisms Well-meaning seniors selfie themselves are definitely something that we want to remember, because it's the one universal gossip topic among students. If a student is among strangers, all . rhey have to do is mention how bizarre their math tutor was that day and afun rime is had. The tutors sometimes teach us, which is important. All of this is to say that, this year at least, one will have to rely on memories more than the yearbook for tutor thoughts. We're sorry. Partick Ensslin, always the life of the party Arcadia Spector showing her restrained form (What does she think about?) Pre-seminar chill ,- 11 I ,1 3IstMarch2017: "Someoneoncetotdme that all ofsenior year is either history or poetry. " Senior Essay Writing in process 58 59 �The Evolution of Love at St. John's Since 1903 Reprinted from the 1903 Rat-Tat via the 1926Rat-Tat The Formula in 1903 Select the prerriest girl possible. Choose a sear built for rwo in wh ich to compound the mixture. By use of rwo teaspoonfuls of conversation and a few pinches of persuasion cause the maiden to settle. Gracefully take your statio n beside the maiden. Throw in one cup of"sheep eyes" and 2 cups of"goo-goo eyes. None of these people are Mr. Yee Hold her hand in yo urs to Hasten tl1 e action . Proud cookie holds plate of homemade girls Keep "s pooning" the mixture all the while. Add 3 cups of laughter. App ly your arm to her waist and rest tl1e liking. When ingredients are well stirred, fl avor with osculary movements ro suir the tas te. The above amounts for two persons only, and are most agreeable when served in rwilighr or with lam ps turned low. Icing to the Same Allow no light in the room, seat th e damsel o n yo ur lap, add an armful of vigoro us squ eezes or flavor wim tulip salve. Sophy Ma allows herself to be enthralled The Formula Today Select the least pretentious person possible. Choose a sluggish bagel line in which to compound the mixture. By use of a half-pint of stumble and a double-shot of hard-of-hearing, lean in close. Ungraciously bump, and maintain the position. Add two cups ofWow Polity Lags on Fridays and three teaspoons of How St. John's College Has Changed Me For The Better. Keep drinking all the while to Hasten the action. Apply shoulder to shoulder to test the liking. When ingredients are well stirred, transplant the mixture to a less humid location and serve up clumsily. The above amounts for two persons only, and is most agreeable when served at Gilliam parties or Reality events held in the Dance Studio. Icing to the Same In a place where others are sleeping, throw in vigorous singing of half-remembered Chorus songs until the neighbors force dispersal. McDowell after the murder 60 61 �The Rat-Tat Editors Front: Lydia Lee (Secretary-Treasurer), Flora Zhang (Photographer), Kit Rees (Archon) Back: Wesley Sonheim (Vice Archon), Peter Wilder (Editor) Not Pictured: jack Cooper (Photographer), jacob Logan-Baer (Editor), Rose Pelham (Photographer) It is the second continuous generation of Rat- Tat edirors, and we are proud of our accomplishments. You can tell from this picture how tired we are. If you are inspired by out tired countenances, perhaps you would like co join Yearbook Club next year and join us in the cause. Come co meetings and aid in a great publication. You get co email lots of tutors, if you're into that. They're full of surprises. Also, have a good summer everyone. 9th Apr. 2017: 'Tve heard history This Rat-Tat also features photographs by Martha Campbell Sasha Gesmer, Chance Hogan, and poetry are the same as racism Stephanie Hurn, Connor McCourt, Elisabeth Morell Alina Myer, Gabriela Sanchez, Garri and quantum mechanics. " Saganenko. The illustrations are by Calida Howell. If you ask nicely, maybe she'll let you get one tattooed somewhere tasteful. 62 Fin. 63 �St. John's College DON RAG REPORT Annapolis, Maryland Date: Class: Student: Language Tutor: _ _ _The student's work has been at least satisfactory _ _ _The student's work cannot be judged satisfactory Mathematics Tutor: _ _ _The student's work has been at least satisfactory _ _ _The student's work cannot be judged satisfactory Laboratory/Music Tutor: _ _ _The student's work has been at least satisfactory _ _ _The student's work cannot be judged satisfactory Seminar Tutors: _ _ _The student's work has been at least satisfactory _ _ _The student's work cannot be judged satisfactory ** _ _ _The student's work bas been at least satisfactory in all classes _ _ _The student's work cannot be judged satisfactory in all classes because: Remarks of the Student: Note: The comments reported here are not equivalent to letter grades. While some attention is given to accomplishment, the main purposes of the don rag are: I) for the tutors to share their opinions of the student's learning; and 2) for the student to receive advice, praise, criticism, and encouragement that bear on work in the future . The don rag is an interim report . .\~''rl.·l, 't .I; 54 TreeRing �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yearbooks Description An account of the resource This collection contains yearbooks from St. John's College in Annapolis, MD. Yearbooks are sometimes referred to as the "Rat Tat", "Cicerone", or "Canvas". This collection includes all published yearbooks since 1896.  Please note that yearbooks were not published every year.<br /><br />Holdings: <br />1896 v. 1<br />1898 v. 2 - 1899 v. 3<br />1901 v. 4 – 1912 v. 15<br />1914 v. 17 – 1918 v. 21<br />1920 v. 22 – 1945/1946<br />1947 – 1951/1953<br />1957<br />1982<br />1986 – 1990/1991<br />1992 – 2001/2002<br />2015/2016 – 2017/2018<br />2021/2022 - 2024/2025<br /><br />Click on <strong><a title="Yearbooks" href="http://digitalarchives.sjc.edu/items/browse?collection=21">Items in the Yearbooks Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context yearbooks Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper (bound book) Page numeration Number of pages in the original item. 54 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2016-2017 Rat-Tat Description An account of the resource St. John's College Yearbook for the years 2016-2017. Creator An entity primarily responsible for making the resource Logan-Baer, Jacob (Editor) Rees, Kit (Archon) Sonheim, Wesley (Archon) Wilder, Peter (Editor) Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2016-2017 Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Language A language of the resource English Identifier An unambiguous reference to the resource within a given context 2017 https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/a25477633f40c38b686dd675793dda8d.pdf eeeeec4f7760b9c5798c685284b8d1e8 PDF Text Text Charles G. Bell, 1260 Canyon Road, or St. John's College, Santa Fe, New Mexico SYMBOLIC HISTORY: 37: !•) , Japan (Heian) 87501 THROUGH SIGHT AND SOUND 20th Cent. C: VJorld Melt 11th c. silk painting, Dai-itoku Myo-o, Fine Arts, Boston MUSIC: Peking c. 1850 opera. Beheading a Son, opening, RCA-V LM 6057 How can an entropic universe be other than a tragic universe, its glory reared on the leap of flame? Our task is to celebrate the dangerous radiance of the later West, without the soul-abandon of. Jeffers' dance around the funeral pyre: passed me, saying, "I am Tamar Caldwell, "Someone flamelike I have my desire." Not by an image of fire itself, or any of the burnings of history, but by a silk painting from 11th century Japan, Dai-itoku Myo-o, fire-guardian of the Buddhist Pantheon (with Peking opera) we grip the pathos of the West in the life-death abstraction ) of energy. . 2) (fade music) Fr. Gothic 13th-16th cent., N.Porch and N.Tower, Cathedral of Chartres (CGB '59) Had not the choice been made with Gothic - its last phase, as in the North Tower of Chartres, called Flamboyant, after flame? In music, the old descent of the Greek tetrachord, settling through its Semitone to the Dorian tonic E - a recollection retained in Gregorian: MUSIC: Gregorian, Easter Mass, dote of Terra treauit, MHS 915 — that downward scale inverts with early organum, climbs through the leading tone to a forbidden tonic C: MUSIC: School of St. Martial at Limoges, Melismat'ic Organum from -------------------------- the Benidicamus Domino, Haydn Soc. L-2071 — Dante's Paradise of flame already fulfilled in Perotin: ‘ �20th Cent. Melt - 2 C.G. Bell MUSIC: Perotin c. 1200, Quadruplum close of Sederunt, Cape, ARC-14068 3) Phillipe de Loutherbourg c. 1800, Coalbrookdale at Night, Science Mus., London With the blast furnaces of the 1800 Midlands, how earth-involved the flames have become, Faust's sky-hunger conflagrant with the hell compact — the combustion and flood of Wagner's Valhalla — soaring to an always higher diapason. Nietzsche: "Above all a living thing wants to discharge its energy." ‘ MUSIC: Wagner 1874, Gotterdammerung, close, Seraphim, 4) 1st Atomic Bomb-, July 16, '45, N.M. 60003 ("Trinity") (Al .Cooke, America, 334) (close Wagner) 5) G. Coustou c. 1730, Portrait of his Brother, Louvre, Paris MUSIC: Bach c. 1715?, Little Fugue in G Minor, opening, Biggs, ----- ----- ' -... ----- Col. MS6261 If dissolving is in question, what energized human greatness (as in the character of a lost father) was to be treasured in that Western assertive command of the incarhate field. in the Age of Enlightenment, how Coustou's Yet even here, portrait of a brother, reasonable as MontesquieuSpirit of the Laws, flames toward excess; how even the most cheerful of Bach's fugues breaks in storm-tossed inwardness, beyond measure. 6) Canova 1803-22 -i (fade Bach) (a copy?), Bust of Napoleon,Gal.d'arte Moderna, Pitti, Florence MUSIC: Beethoven 1804-8, toward close 1st myt, 5th Symphonie, --------. _ . --. ... Deutsche Gram. LPM-188 04 In Canova's Napoleonic transformation, "makes war on itself". (as Hegel says) Revolutionary hope (Wordsworth's "A Blackbird's whistle in a vernal grove") with ardent eyes". spirit turns to "hissing factionists Yet superimposed on that yielding up moral �C.G. Bell 20th Cent. Melt - 3 questions in despair, the now existential will has seized the grim hammer to forge something. minimal or the maximal state? Was Rousseau's Contract for the Thus the motion of liberation which had prevailed since Renaissance becomes the motion of constriction, 7) Arno Breker c. 1938, Nazi Carving, Preparedness which has Hitlerized the later West. (Kunst *81) (fade Beethoven 5th) We will not sift the recorded sounds of National Socialist rallies "With Songs and Cheers", for a music of the reign of Professor Doctor Peter Raabe, blatant as Arno Breker's 1938 "Preparedness" — as if totalitarian "Renaissance" could turn back the clock of Spenglerian time, renewing the civic power of Michelangelo's David against Eliot's "Gerontion" warning: "Unnatural vices are fathered by our heroism." Hitler: ) We must be ruthless... Terror is the most effective political instrument...A violently active, dominating intrepid, brutal youth — that is what I am after... 8) Paul Klee 1940, Death and Fire, MUSIC: A.Berg 1935, Klee Foundation, Bern, Switzerland from Violin Concerto, death passage Against the Nazi head set what its call to strength had exiled. Paul Klee, most insistently subconscious of the great moderns, was purged frpm the Dusseldorf academy in 1933. He settled in Bern, where he died in 1940, the year of this picture, "Death and Fire", a wry handling of his own and the world's dissolution. Mein Kampf quell the fires by which it was forged? But could Berg's Violin Concerto on Manon Gropius' death of polio-myelitis; Rilke's surreal landscape of laments in the Tenth Duino Elegy, — with everything from Einstein's relativity, Heisenberg's indeterminacy, Godel' s anti-proof, back to Marx'* Manifesto and Rimbaud's "drunken gnat at the inn's urinal, in love with the barage and dissolved �20th Cent, Melt C.G. Bell in a sunbeam"? 4 (fade music) Did these, as so many assumed, portend the decay of Western power? 9) Rom'q-Gothic Castle 1228, Chateau-de-Mer, Sidon, Lebanon By 1228 the crusading drive of Medieval chivalry had left this Chateau-de-Mer at Sidon, on the Lebanese coast of Asia Minor. 10) Moorish in Spain 14th cent., Torre del Damas & garden, Granada In Granada, this 14th century Torre del Damas, with its garden, pool and Asian lion, marks the last Moorish foothold on the contested sub-continent of Spain. 11) Turkish in Europe 16th cent.. Old Bridge, Minarets etc., Mostar, Yugoslavia As late as the Renaissance the Ottoman Turk was pressing the bounds of Vienna, holding Bosnia and Herzegovina, building this Mostar bridge, minarets and towers in what would later be Austria Hungary, and then Yugoslavia. 12) V.Dyck c. 1633, Wm. Fielding, Yet by the next century 1st Earl of Denbigh, Nat.Gal., London (33 years after Queen Elizabeth had licensed the East India Company), Van Dyck hugely captured what was to become the whole Pukka-Sahib imperial westernizing of the globe; 13) John Nash & others 1815-21, The Royal Pavilion, Brighton, England • With Brighton Pavilion, fashioned for George, Prince Regent, from 1815 to '21, like an Eastern Pleasure-dome (though with the structural lightening of cast-iron), the counter-current of empire draws the styles of exotic lands to the novelty-seeking core. On the tide of post-romantic desire, who is fo be conquered by whom? 14) German Renaissance c. 1500, Dinkelsbuhl, center (CGB *59) No doubt the energy that would revolutionize every phase of �M C.G. Bell 20th Cent. Melt - 5 Western and human life had already, in the Renaissance German town (here Dinkelsbiihl) , given Gothic testimony of its soaring dialectic, the free individual empowered in the civic frame. Yet even as the « traffic of another world explodes those towns, how remote they seem 15) Empire State Building, looking up from the street, NYC from the Empire State culmination of that Faustian alchemy. In a community of nations preparing again to tear itself to pieces. New York was skyscraping center, that slogan-capitalist worldhive, with the stock-market of its troubled art soul: — 16) Salvator Dali 1936, Soft Construction with Boiled Beans (Premonitions of Civil War), Arenburg Col'n, Philadelphia Mus. Dali's 1936 "Soft Construction with Boiled Beans (Premonitions of Civil War)" dished up what was hatching from post-romantic, depression and Fascism (as birds crack the shell). In that turning of liberalism on itself, transvaluing polarities were everywhere dividing and inbreeding. Left fought right, socialist communist, Trotskyite Stalinist; yet ultimate right and ultimate left converged in totalitarian seizure. In art, realism rose against avant-garde, avant-garde split abstract from surreal; isms splintered and cross-multiplied; while through them all cut the psychic cleavage of backward regret or forward euphoria -whether the manic-depressive should affirm or deny. 17) CanoVa 1804-19, Theseus Battles the Centaur, Kunsthist. Mus., Vienna In the Napoleonic upheaval, Canova thought to battle down centaur violence, summoning the heroic image of Theseus (though already strength swells too much toward a Mussolini pugilist). While in Schubert's last symphony, classical form still masters the rebellious dissonance of Beethoven. MUSIC: Schubert 1826, 7th Symphony, 2nd mvt, nearing close, ------ ——---------------------------------- — Col.ML 5619 (fade) �C.G. Bell 20th Cent. Melt 6 18) j,ipschitz 193B, Rape ol' Europa. .bronze, Musee d*Arte Moderne, Pai is Since Nietzsche's transvaluation of value, that brute seizure Picasso's IS our own-- Lipsckitz' Europa, like/ bull and minotaur. assumpticns of conquering So Schonberg's espousal of emanicipated dissonance. MUSIC: Schonberg 1936, Vln Concerto,- 2nd mvt, brief forte, h through. Col. M2S 679 (fade) Yeats, for all his concern with "traditional sanctity and loveliness", must side with the "roof-levelling wind", the irrational cry of Juno's Peacock, the "old man's frenzy" of his own epitaph: Cast a cold eye On life, on death. Horseman, pass by. 19) Raeburn c. 1810?, Rev. Robert Walker Skating, Nat. Gal., Edinburgh Has the complicity of alienation removed us forevear from the human image as Romantic inherited it from Enlightenment — Raeburn's Preacher Walker skating, from the time of Wordsworth's Prelude: ("Fair seed-time had my soul") We hiss'd along the polish'd ice...while the stars Eastward, were sparkling clear, and in the west The orange sky of evening died away. Have we now the option of that Vicar of Wakefield wholeness? 20) H.Matisse 1905, Joy of Life, study, Haas Coll'n, S.Francisco MUSIC: Ravel 1909, Daphnis & Chloe Suite II, opening. Col. MS 5397 When Cezanne, Gauguin, Van Gogh, Seurat meet in the Fauves, those "Wild Beasts" (this Matisse 1905 Joy of Life), Symbolist rupture and escape soar to mythic elation — as in Ravel's 1909 Daphnis and Chloe. And although the Bacchic dream of Mann's Aschenbach attends Death-in-Venice, it was still with the rapture of Molly Bloom that Joyce would close the Dublin wanderings of �M M C.G. Bell 20th Cent. Melt - 7 Ulysses, June 16, 1904: and Gibralter as a girl where I was a Flower of the mountain yes when I put the rose in my hair... and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes. 21) Picasso 1903, Life, Mus. of Art, Cleveland, Ohio And though Picasso had begun in the Symbolist Blue vein of early Yeats: "The wind blows over the lonely of heart/ And the lonely of heart is withered away/" — what Debussy had poured into the last phrase of Maeterlink's Pelleas and Mellisande, "It's the turn of the poor little child" MUSIC: Debussy 1892-1902, close of Pelleas & Mellisande, Col. M3 30119 (whatever Spectre of a Rose would be enacted in the new Ballet of Diaghilev or in the Diaghilev-haunted fate of Nijinsky) — (fade Pelleas & Mellisande) 22) Picasso 1907, Les Demoiselles d'Avignon, Mus. of Mod. Art, NYC Picasso by 1907 would have broken through that "Hollow Man" anemia, MUSIC: Stravinsky 1912-13, from Le Sacre du Printemps, Col. MG3 1202 striking d’eep into the mother-lode of Faust, Nietzsche and Rimbaud, bulldozing for Joyce the abstract violence of Ulysses' Circebrothel, and for Stravinsky this 1912 Rite of Spring. As Picasso revealed, the crapping pose on the right is as much the earthmother crouch of delivery. Was it not known from the start that when stressed forms are broken, energy flames? 23) (fade Stravinsky) Franz Marc 1914, Heitere Formen (A Schardt, F. Marc p. 160) Perhaps the visual ecstasy peaks (Fauve, Cubist, Futurist) A i �C.G.'^ Bell 20th Cent. Melt - 8 Franz Marc's 1914 "Happy Forms" — such an overflow as Rilke gave words in the Second Duino Elegy, the perilous Archangel t. having advanced one step from behind the stars (Leishman & Spender) ranges, summits, dawn-red ridges of all beginning, — pollen of blossoming godhead (Pollen der bllihenden Gottheit, Gelenke des Lichtes, Gange, Treppen, Throne...) hinges of light, corridors, stairways, thrones, spaces of being, shields of felicity, tumults of stormily-rapturous feeling, and suddenly, separate, mirrors, drawing up their own outstreamed beauty into their faces again. — "the eternal torrent" roaring its way through all realms, inward, outward — until creative ecstasy climaxes in terror. 24) Franz Marc 1914, Kampfende Formen, Neue Pinakothek, Munich (CGB *59) It is the break implied in this "Battling Forms", Marc's other masterpiece of 1914, that year of the Great War, when man appeared the Faustian bungler off migratory course (Rilke): ...outstript and late, we thrust up suddenly into the wind, to fall upon inhospitable ponds — Und fallen ein auf teilnahmlosen Teich. In 1911 the young poet Heym imagined the catastrophe he did not live to see: A great city sank down in yellow smoke. Sucked without a sound into the ground; Vast above the ruins War heaves his' brand... 25) Geo. Davis 1916?, "Putting out his eyes". Imperial War Mus., London Only above the sodden trenches and barbed v/ire could that First World action hold the Fauve adventure of Homeric war — Yeats, "An Irish Airman Foresees his Death": A lonely impulse of delight Drove to this tumult in the clouds; �20th Cent. Melt C.G. Bell 9 I balanced all, brought all to mind. The years to come seemed waste of breath, A waste of breath the years behind In balance with this life, this death. 26) Nevinson c. 1918, Bearing the Wounded Over No Man's Land (Studio: Mod. Engl. Art) Below, Rilke's first flame elation at the "hearsaid, remote, incredible War God", with George's, and Hesse's, mired in the this of doomed Hyperion landscape of/Nevinson and/Owen: It seemed that out of battle I escaped Down sortie profound dull tunnel, long since scooped Through granites which titanic wars had groined. Yet also there encumbered sleepers groaned. Too fast in thought or death to be be.stirred. Then, as I probed them, one sprang up, and stared... By.his dead smile I knew we stood in Hell... "I am the enemy you killed, my friend... 27) George Gross 1917-18, To Oskar Panizza, Staatsgalerie, Stuttgart George Gross's 1917-18 Kermess of Death whirls us from Owen beyond embittered Sassoon -Does it matter? — losing your legs?... For people will always be kind... And no one will worry a bit — to the armistice debunking of All Quiet on the Western Front and No More Parad.es. Under the Dada compact to mock, the surreal to estrange. Pound hones Hysterias, trench confessions. Laughter out of dead bellies... There died a myriad. And of the best among them. For an old bitch gone in the teeth,' For a botched civilization... 28) 0.Kokoschka 1909-10, the Marquis & Marquise de Rohan-Montesquieu, Nat.Mus., Stockholm, & P.E. Geier Coll'n, Rome But the war shift from euphoria to bitterness was a change of stress. By 1910 Eliot's Prufrock seems indecision of "entre deux guerres" to have entered the ("I am no prophet — and �C 20th Cent. Melt • B011 here's no great matter"). 10 At the same time Kokoschka, in Vienna and Svvitzerland had uncovered the more blasted international neurotics of Eliot's post-war "Gerontion": Mr. Silvero With caressing hands, at Limoges Who walked all night in the next room... Madame de Tornquist, in the dark room Shifting the candles... so the Waste Land also about 1919: Under the firelight, under the brush, her hair Spread out in fiery points Glowed into words, then would be- savagely still. "My nerves are bad to-night. Yes, bad. Stay with me... I never know what you are thinking. Think." 29) Brancusi 1919, Mile Pogany (bronze) (Life, Dec. 5, '55) MUSIC: Stravinsky 1922, Octet for Wind Instruments, from First . Mvt. --- ---------------------------------- ^---------------------- Col. SM 30579 In Brancusi's 1919 Mile Pogany, as in the jazz polyphonies of post-war Stravinsky, abstract sophistication leaves no clue to the mutilations style has plowed under. In that civilization of Chaplinesque extremes, what crack-ups were waiting under the brilliance of League of Nations, boom and bust, flapper dress and skeletal steel? 30) (fade Stravinsky) M.Duchamp 1912, Nude Descending a Staircase No. 2, Mus. of Art, . Philadelphia Before the war Duchamp had painted for the Armory Show of 1912 this Cubist and Futurist analysis of motion, charged somehow with the excitement of the atomic physics of those years — however the American public mocked it as "Nude Falling Down Stairs", or "Explosion in a Shingle Factory". 31) Duchamp 1915-23, The Large Glass: The Bride Stripped Bare by Her Bachelors Even, Mus. of Art, Philadelphia But the war made Duchamp too a mocker. New York leader of �C.G. Bell 20th Cent. Melt 11 International Dada, with its nihilist debunking of civilized values. Such this "Large Glass: The Bride Stripped Bare by Her Bachelors, Even" philosophy) (as bare as Wittgenstein would strip —, this love-burlesque of scrap metal and pseudo­ dynamo, to which Duchamp gave ten years of assembling and laissez-faire destruct. tion by negation, Yet how soon in the Avant-garde affirma­ its junk and nose-thumbing would point the path of higher abandon (William Carlos Williams' "No ideas but in things"), to become the dynamic of a New Frontier. 32) Mondrian 1936-42, Rythm of Straight Lines, H.Clifford, Philadelphia, (now D^lsseldorf) MUSIC: Varese 1931, Ionization, Col. MS 6146 (about 2/3 in^after siren) In the tightening of the '20's, Mondrian, who had begun by abstracting from nature, stripped the canvas to ruled rectangles of white and primary colors. Was Varese on such a course in the percussions and sirens of his 1931 Ionization? Or Gertrude Stein in her most arid reductions: Red Roses. A cool red rose and a pink cut pink, a collapse and a sold hole, a little less hot... Custard. Custard is this. It has aches, aches when. Not to be. Not to be narrowly. This makes a whole little hill. Better'her dying question: answer came): 33) "What's the answer?" (and when no "In that case, what's the question?" (end Varese) Japanese (Early Edo) 17th c., Jodan-no-ma, room in Shin Shoin Katsura, Imperial Villa, Kyoto, Japan MUSIC: Japanese Koto(Izumi Kai), Rokudan: close, Everest 3206 How much of the modern has its cognates in Medieval, Eastern, Primitive. Such rectangular grids as Mondrian contrived for panel painting Imperial Villa. unfold to articulated wonder in the Kyoto The conscious inventive novelty of the modern -- �20th Cent. Melt C.G. Bell "Well then, what’s the question?" recedes before the spatial ceremony of this life-room. 34) 12 (end Koto music) Le Corbusier & others 1937-43-, Ministry of Education, Rio de Janeiro In architecture what had seemed the rectangular quirk of painting gathers the powers of reinforced concrete, steel and glass for the functional enclosure of space (so Le Corbusier's Rio de Janeiro Ministry of Education). The art struggle which • c ruled lines had bypassed (Cezanne's life-fight for geometry in nature) resurrects in the tensile strategy of rearing against gravity (as Buckminster Fuller used to ask at architectural meetings: 35) "What does yctr building weigh?") . Frank Lloyd Wright 1909-10, Robie House, Woodlawn Ave., Chicago, IL (CGB *60) The most extraordinary genius of architecture, Frank Lloyd Wright, was also herald of a new America: a new ideal of civilization...based on the freedom of man's mind guided by his conscience... Those wonderful houses, where nature flows in and out: (Wright) We have no longer an outside as outside. Now the outside may come inside, and the inside may and does go outside. They are of each other... There can be no separation between our architecture and our culture. Nor any separation of either from our happiness. — from the Prairie Houses of the early century, the great one built for Coonley, or this for Robie in Chicago; 36) F.L. Wright 1952, Mrs. Clinton Walker House, Carmel, CA through the Pasadena houses of the '20's, or Pennsylvania "Falling Water" from the '30's, to this on the Carmel coast, 1952 — democratic vision, empowered by wealth and daring, went on affirming itself, through war. Lost Generation, Depression, Nazi �C.G. Bell 20th Cent. Melt 13 war, the advance of Communism, New Frontier, down to Silent Spring and the napalm bombing of Vietnam. Wright: There is a new integrity in America, alive and working with new means...for freedom and beauty — yours and mine and our children's — in the realm of the new architecture. 37) Same, interior looking out to the ocean What did that private ocean-pavilion of steel and glass affirm? The splurge of America, the huge canvases of the N.Y. School, oil slicks, the looming energy crisis? Did it affirm its own negation? -- not far away along the same beach, the hand-built tower of stone from which Spenglerian Jeffers had written in the 1920's: "meteors are not needed less than mountains: shine, perishing republic", and "This coast crying out for tragedy like all beautiful places"..."Burn as before with bitter wonders, land and ocean and the Carmel water." The very year of the house the vision of Adlai Stevenson would go down before Eisenhower and Nixon: 38) O land, 0 cities; and down to tbe salt sea again. Grant Wood 1932, Daughters of the American Revolution, Art. Mus., Cincinatti Both Wright's avant-garde and his dream of America having been opposed, since the eddies and cross-currents of between-wars, by Philistine tradition — against which Grant Wood and Sinclair Lewis had thought to wield an ironic scalpel: There is a character in spectacles. '. .Babbitt' s spectacles had huge circular frameless lenses of the very best glass; the ear pieces were thin bars of gold. In them he was the modern business man; one who gave orders to clerks and drove a car and played occasional golf and was scholarly in regard to Salesmanship...With respect you beheld him put on the rest of his uniform as Solid Citizen. Yet what is such an art mocking but its own limitations, consanguinities? its �20th Cent. Melt C.G. Bell 39) 14 Picasso 1930, Seated Bather, Museum of Modern Art, NYC Copland 1930, from the Eiano Variations (close) Dover HCR MUSIC: ------------ - ----------- ------- bT-7014A'~ Picasso's mandibled Bather voiced the same desiccation more radically. It was just the translation of worn-out content into the elemental charge of distilled abstraction that gave inter­ national modernism its hard vitality. So Copland (with less acclaim) in the hermetic experiment of the 1930 Piano Variations. 40) J.S. Curry 1929, Tornado over Kansas, Hadley Art Gal., Muskegan, MI or RCA LSC 31^4 MUSIC: Copland -1938, from Billie the Kid, 1st scene. Col. MS 6175 Meanwhile the counterdrive (this 1929 Curry) pushed sanity in art and reattachment to nature and man — to avoid what Marsh called "fantastic nonsense" and Benton of Missouri "sickly rationalizations, psychic inversions and God-awful cultivations". Life magazine and the WPA helped, Copland too, as if to show that a clever man can change styles like dress, led music on the tabloid tack. (fade Copland) Typical of the aesthetic war, that when Barnett Newman, in 1942, attacked "Isolationist painting, which they named the American Renaissance... not an art but an expanded Currier and Ives revival", he identified it with Hitlerism: Art in America today stands at a point where anything that cannot fit into the American scene label is doomed to be completely ignored...an ever expanding school of genre painters... telling the story of America's life of humdrum...instead of the old oaken bucket, it based its appeal on the hurricane cellar. 41) Barnett Newman 1949, Concord, Met. Museum, NYC from MUSIC: ■ Subotnick (b. 19'33), Electronic Synthesizer/"Silver Apples of —---------------------------- :------ the Moon", Nonesuch 47174 (Sf. Jno) (hear close of Pt. Ill �20th Cent. Melt C.G. Bell 15 --here Subotnick-Though in a short time (while the synthesizei/ gained in music), the work of Newman himself, this two-lined color-ground called Concord, based on the European abstract, but rapturously, almost (strange as the word seems) organically new, the mystic color pools of Rothko, action swirls of De Kooning and Pollock,^ with numberless variants of other experimenters — all that had pushed the, representational in turn almost to the wall. 42) (fade Subotnick) Max Ernst 1943, The Eye of Silence, Washington Univ., Mus. of Art Had reattachment been an eddy in the always remoter flight from things of the earth; or is it a recurrent calling? Dylan Thomas at any rat:e, began (1934) with estrangement, surreal as this Max Ernst, The Eye of Silence; ■ Light breaks where no sun shines; Where no sea runs, the waters of the heart Push in their tides; And, broken ghosts with glowworms in their heads. The things of light File through the flesh where no flesh decks the bones... 43) Jack B. Yeats 1952, The Morning Sea, J.D. Rockefeller, NY But by 1946, the rapture of "Fern Hill" ("Down rivers of the windfall light") or of "Poem in October", suggests an art as immediate in earth-praise as the Irish landscapes of Jack Yeats, painter-brother of William Butler Yeats, the poet: t It was my thirtieth year to heaven Woke to my hearing from harbour and neighbour wood And the mussel pooled and heron Priested shore The morning beckon... And I rose In rainy autumn And walked abroad in a shower of all my days... 44) P.Mondrian 1942-3, Broadway Boogie V'Joogie, Mus. Modern Art, NYC MUSIC: Boogie Woogie (1936) Count Basie, etc. Did even Mondrian, in wartime New York, follow the trend of �V 9 C.G. Bell 20th Cent. Melt - 16 earth-yea to the jazzing of his squares in what he called "Broadway Boogie Woogie"— catchy as Cuininings' take-off on first love as driving a car" she being Brand -new; and you know consequently a little stiff i was careful of her and (having thoroughly oiled the universal joint tasted my gas felt of her radiator made sure her springs were O. K.) i went right to it flooded-the-carburetor cranked her up, slipped the clutch... just as we turned the corner of Divinity avenue i touched the accelerator and give her the juice, good (it was the first ride and .believe i we was happy to see how nice she acted right up to the last minute coming back down by the Public Gardens i slammed on the internalexpanding & externalcontracting brakes Bothatonce and brought allofher tremB -ling to a-:dead. stand;Still) (end Boogie Woogie) 45) Diego Rivera 1932, Man and Machinery, Detroit Inst, of Arts MUSIC: Honegger 1924, Pacific 231, (close). Vanguard SRV-274 SD; -——— cf. Mussolov c. 1928, Steel Foundry or Symph. of Machines, -------------------------------------------- old 78 PAT-X96300 The Left had begun Avant-garde, politics. iconoclastic in art as in (MOssolov's 1928 Machine music communizes this 1924 �20th Cent. Melt C.G. Bell Honegger "Pacific 231".) 17 But the populist rallying, even as it absorbed the radical, veered in counter-revolt against it. In a Mexico which called itself Marxist, Diego Rivera (with others) forged abstract into realism, satire into proletarian acclaim.Meanwhile Left and Right enforced totalitarian conformity. One was tempted to divide Western Civilization into three overlapping spans: 1st, the mystico-ascetic or Medieval; 2nd, the free-humanlst, rising from that ground to Renaissance vigor, 17th century formulation, 18th and 19th century climax, with orgies of lacerative individualism extending into this century; 3rd, the ordered-materialist, growing from the industrial revolution to the state assertions of pur time. (end Pacific 231) From the pragmatic perspective of this third, what was the whole surreal and abstract wave but a bourgeois pathology? As from the flight of Symbolist vision, the mass hardening was a reactionary pathos of between-wars. 46) 0.Kokoschka 1913, Dolomite Landscape: Tre Croci, Horstmann Coll'n, Hamburg Against its blatancy, stands the wonder of the ultimate modern: -- Rilke's last Duino Elegy, the Tenth, gleaming as far as its "stars of the Land of Pain" — "Die Sterne des Leidlands" over the art scene. MUSIC: Alb.Berg 1935, Vln Concerto, Philips ST 802-785 LY (opening) What can we do but invoke it again, and with it, also the music its death molting claims — Berg's Violin Concerto, which brings the sensory renewal of the 'thirties to a like transcendence? It was before the First War, and in the vein of rapt wonder Kokoschka approached in that Austria, that Rilke received the first fifteen lines, ending: �20th Cent. Melt C.G. Bell 18 We wasters of sorrows — wir, Vergeuder der Schmerzen -...though they are nothing else Than our winter foliage, our somber evergreen... Place and settlement, camp, soil and dwelling. When the poet, in the trough of between-wars, found his way back to these Elegies begun at Duino, 47) Paul Klee 1915, Der Niesen, Hermann Rupf, Bern the tenth had become a surreal pilgrimage: How strange alas are the streets of the city of pain... Franz Marc having fallen in the great blood-letting, who could advance with Rilke out through the "wide landscape of laments" — "die weite Landschaft der Klagen"? plumbed the subconscious. Klee, as much as anyone, But can Klee's clever miniatures, here Mount Niesen, behind the Lake of Thun, match Berg's requiem for Manon Gropius, much less Rilke's ascent with the Early Dead? (Leishman & Spender) ...in silence the elder Lament brings him as far as the gorge where it gleams in the moonlight, — there, the source of joy — 48) Kandinsky 1913, Improvisation (The Flood), Stadtische Gal., Munich MUSIC: still Berg, Vln Concerto, skip to stormy death It was Klee's miraculous inventions which had mediated the 1 1920 change in Kandinsky. Surely, there is a proportionality between the pre-war and post-war styles in Kandinsky and Rilke. The Apocalyptic storm by which Kandinsky turns his 1913 Flood disaster to a color vortex of earth-swallowing spirit, matches the 1912 stratum of the Tenth Elegy: "that secret weeping may blossom" -- "dass das unscheinbare Weinen bluhe", heart's looser night-surrender to the inconsolable sisters' loosened hair. 49) Kandinsky 1926, Several Circles, detail, Guggenheim Museum, NYC �20th Cent. Melt - 19 C.G. Bell MUSIC; Berg continued into the Choral While when Kandinsky comes, through Dada, Klee and Bauhaus, to the ethereal geometry of this 1926 "Several Circles", it is as if Berg had brought Bach's "Es ist genug" out of a 12 tone agony, or Rilke, under pain ranges had found the "well of joy", ...with awe she names it, says "Among men it's a carrying stream" —"Bei den Menschen/ ist sie ein tragender Strom"— (fade Berg Vln Concerto & skip to the close) So the close of the Berg, like the Rilke — up heights seeded with catkins and the spring rain — climbs the vanishing diapason, to the emotion that almost startles when happiness falls. die uns beinah besturzt, wenn ein Gluckliches fallt. (close of the Berg, without speech) 50) Russian Byzantine 1508, Fresco of Last Judgment, Cathedral of the Annunciation, Kremlin, Moscow MUSIC: Russian 16th c(?), Christmas Hymn, Anthol. Sonore LP-10, A, 1 It is of crucial significance that the materialist nation of the future, Rhssia, should have remained so long immersed .in the lavic appropriation of Byzantine, (this 1508 Kremlin chapel), an orthodoxy 19th century Slavophils must turn into an earth-might — even to the passionate harmonization of all ancient chant, Against so national a mystique, how could Marx say: (fade chant) "The working­ men have no country"? 51) Kiprensky 1827, Portrait of Pushkin, Tretyakov Gallery, Moscow In the romantic westernization of that Russia, this portrayed Pushkin, sad singer of autumn — "Sweet mournful days, lure of �C.G. Bell 20th Cent. Melt 20 leave-taking eyes" — is .also the prophet a six-winged seraph gave in the waste, eagle eyes, ears to hear the spheres "And the green vine in the valley climbing", for his own lying tongue that of the wise serpent, and for his human heart a coal of fire. So he wakes to the voice of God: Wander the gray seas and earth roads And burn men's hearts with this, my Word! Was it then that he called to the mine prisoners of Siberia?: The walls will crumble at a word... And brothers give you back the sword. 52) Malevich 1911, Taking in Harvest, Stedelijk Mus., Amsterdam In the Avant-garde revolt of the first quarter of this century, Russians leapt to the fore. and Stravinsky, lived abroad. representation kept pace, Paris. Though most, like Kandinsky Not Malevich, whose break with from year to year, with Munich and With the exception of a brief stay in France, 1912, and in Germany, 1926, he stuck it out, through war and revolution, in Moscow. In this 1911 Harvest Scene, the observed puts on the barrels of cylindrical abstraction. 53) Malevich 1913, Head of a Peasant Girl, Stedelijk Mus., Amsterdam In this 1913 "Head of a Peasant Girl" Malevich moves, under the impact of Picasso's cubism, toward what he would formulate as "a feeling for the absence of the object." By 1916 this compl of curved foldings had also yielded to a Constructivism of plane geometry, culminating in the nuclear ultimate of "Suprematism". As Malevich wrote: 54) Malevich c. 1915, Black Square, Russian Museum, Leningrad Suprematism compresses all of painting into a black square on a white canvas. I did not have to invent anything. It was the absolute night I felt in me; in that,- I perceived the creation, and I called it Suprematism. It expresses itself in the black plane in the form of a square. �s 20th Cent. Melt - 21 C.G. Bell Though Diaghilev had observed in the cresting of 1905; We are witnesses of...a new and unknown culture which will be created by us, and which will also sweep us away. While the Revolution thought itself avant-garde, Malevich had art power in Russia. From Trotsky ("The mind of the artist will limp after the reality the politicians are creating") to Stalin, reaction hardened (was it the outrage of that Internationale where ground and trees were painted in loud geometries?)- When Malevich died in 1935, it was in poverty and neglect, his once Bolshevik attempt called "Bourgeois formalism". 55) Boris Johanson 1933, Interrogation of two Communists, USSR At what flaming acts and inertia of art that overthrow and changing of the tinctures connived. Here a 1933 Interrogation of two Communists, with Shostakovich and Sholokov: . , < (Kouseva tsky; MUSIC: Shostakovich 1937, Fifth Symphony, 1st Mvt, before climax, / =: .. ■ -- Col ML 47 39 Bravely, proudly lifting his head, Podtielkov mounted the stool beneath the noose, unbuttoned the collar around his stout sv/arthy neck, and without the tremor of a muscle, himself set the soapy rope... "See -how few* are left to look on at our death... You have been deceived. The revolutionary government will come, and you will see where the truth was. The finest sons of the gentle Don you have laid in that hole." (fade Fifth Symphony) Let this picture from the year Hitler came to power exemplify the state realism Stalin also enforced. 56) Pavlo Filonov c. 1935?, Fragment of Faces ("Hidden Soviet Art", Life Mar.28, 1960) MUSIC: Shostakovich 1936, close of Symph. 4, Melodiya-Angel SR-40177 And only long after, with the literary underground we know of, paintings would appear of an Avant-garde suppressed under Soviet �20th Cent. Melt C.G,. Bell conformity: 22 this mosaic of distrubed faces by Filonov, Leningrad painter who died in 1941. Suddenly one would realize what one must have known before, that consciousness is like a gene-pool; post-romantic civilizations may demand, resolve; but they cannot obliterate what has been experienced by the soul. It is a tribute to Shostakovich that in his experimental works, condemned or quietly withdrawn, we are hypnotized toward that other focus — as with the mysterious -close of the disapproved Fourth Symphony. 57) (close Shostakovich 4th) Peter Blume 1934-7, The Eternal City, Mus. of Modern Art, NYC When Mussolini in 1923 popped out of the Pandora box, among battered books and broken statues of the Eternal City, he did not 'look so green-faced as Peter Blume would make him more than twelve years later. Lincoln Steffens in fact had thought him God's clc.rifying thunderbolt. asked. "You're a correspondent?" "You saw the war? Revolution in Russia? anything... Listen. Yes. Yes. And the peace? Well," he sneered, Mussolini had Yes. And the "did you learn Do you think now any of the things you thought before you saw the war, the peace and the revolution?" But if that was God's thunderbolt, Steffens obscured the ■h' turning of God on himself — how Futurist ecstatic rant and d'Annunzio's foaming poems, leagued with Mussolini and castor oil to make the trains run on time, might overshoot. no more of the brotherhood, "Let us hear sisterhood and other bastard relations of nations; all relations of nations are those of power"... 58) Hitler c. 1920?, early painting of a dream castle, Life 10/30/39 — So darkening Europe under Flying Fortresses. Since meanwhile a most inadequate representational painter. �20th Cent. Melt C.G. Bell 23 the Austrian, Adolf Hitler, had concretized, and, in the bitterness of German defeat and inflation, was deflecting his art from such paintings as this castle (dream madhouse he might have escaped from) to a Mein Kampf veering of Socialist Workers to the turgid Right. As Dante had said of the wrathful: "Portando dentro accidioso fummo." With the Dachau smoke of that strange incinerator, the pathos of moral rearmament and soul-hardening would spread over Europe the fiercest realism of all. 59) Adolf- Wamper c. 1938, Genius of Victory, Kunst Vol 81, 1933-40 In the "Genius of Victory" by Wamper (another Adolf), everything from abstract and Expressionist, D^da and Surreal is forcibly reversed in the Charles Atlas imperative of totalitarian renewal — caricature of Nietzsche's call to higher living: A ruling race can only grow from terrible and violent beginnings. Where are the barbarians of the twentieth century? (If only the Germans could have claimed a monopoly of theml) 60) Double: Saint-Sever Apocalypse c. 1050, Flood, Bibl.Nat., Paris; and Picasso 1937, Guernica, det. of Left portion, Barcelona? "The tiger springs in the new year . ' Us he devours." T.S. Elio,t in "Gerontion" had voiced that cyclical Coming — so "the innumerable clanging wings" and "Sailing to Byzantium" of Yeats' War, Civil War and post-war Tower. Even Picasso, though more Socialist than Christian, has visibly rested his 1937 bombing of Guernica on a Flood destruction from the Saint Severs Apocalypse of 1050. So the Wasteland had shaped for its age a mythology of earth-sabotage: What is the city over mountains Cracks and reforms and bursts in the violet air Falling towers Jerusalem Athens Vienna London Unreal... Alexandria �C.G. Bell 20th Cent. Melt - 24 (To which the Second War would add Warsaw, Rotterdam, Dresden, and all the rest.) Double: Picasso 1937, Guernica 1st State; and Final State Against the Communist realism of Russia, Picasso's Partisan testimony fragments space and abstracts emotion. From the first state of the Guernica (below) to the last (above), human content (the redemptive pain of the warrior stretched out as if crucified) is calcined and suppressed. Yet in a pictography where perspective, foreshortening, chiaroscuro go under, force flames some Heraclitean inverse of negation. While the claimants of world order cranked up their rhetoric, Picasso locked horns with god in the whirlwind. •_Picasso 1937, Guernica 2nd State det. Warrior's raised fist rays & corn; and Final State det., sword hand with flowers Even so, programmatic message — Rilke's hazel catkins from the dead land, rooted far back in the Revolutionary and Romantic, s Weary the winters, at the last comes corn" — has shaped in the photographed second state of the painting (above), such a sun-rayed promise of grain from the warrior's raised fist. And although the symbolic arm was to disappear under the writhing horse, it is in the final state (below) hand of a dead woman, spray of flowers; that what had been the long since painted out, would resurrect as a Dante's "so long as hope puts up a blade of green"; Rilke's "Heilkraut" of the Fifth Elegy, his "Singing plant" on the peaks of the heart". hand, Leafing up from the clenched sword it counters annihilation. ^_War II photo 1945, Demolition on Iwo Jima, Eastman House, Rochester So where the First War had ended in capitalist debunking, the Second swelled through Partisan alliance to a crusade of the �20th Cent. Melt - 25 C.G. Bell "Peace-loving Peoples", while Churchills's rhetoric of "blood, sweat and tears" and "Fight them on the beaches, fight them at sea, fight them in the air", revived the myth of heroic action. -- How fragile, in the wa^ of Eliot's West: I was neither at the hot gates Nor fought in the warm rain... My house is a decayed house... I an old man A dull head among windy spaces. and: Teach us to care and not to care Teach us to sit still -- how vulnerable to My Lai. 64) Joan Miro 1942, Woman & Bird in front of the Sun Yet through the war and the decade after, down to the overflow of Hippie wish, something extraordinary happened; the partisan crusade incredibly veered through the reversal of Cold War into New Frontiers and the dream of free enterprise opulence. At the same time those arts which had begun in Dada mockery expand the same techniques (this 1942 Miro) to visionary wonder. In Finnegan's Wake of 1939, Joyce led all artificers of transverbal myth: We who live under heaven, we of the clovery kingdom, we middlesins people have often watched the sky overreaching the land. We suddenly have... A kind of a thinglike all trayloggedthen pubably it resymbles a pelvic or some kvind then props an acutebacked quadrangle with aslant off ohahnthenth a wenchyou may cuddler, lying with �20th Cent. Melt - 26 C.G. Bell her royal Irish uppershoes among the theeckleaves. Signs are on of a mere by token that wills still to be becoming upon this there once a here was world. As the dayeleyves unfolden them. In the wake of the blackshape... 65) Arshile Gorky, 1944, "How mv Mother's Embroidered Apron Unfolds in my Life", Coll'n Bagiev Wright, Seattle MUbiC: Carter 1959. Str.Qrt 2, near close. Col RJi272l At the same time the Turkish Armenian immigr^Kt Gorki (up to his accident and suicide) had seized on and was melting down the abstract and the surreal extremes of Avant-garde, crashing through about 1941 to a subconscious plasticity of paint-fused canvas, drips and all, as it has been called, "a ' phenomenology of the invisibile". �20th Cent. Melt - 27 C • G. Bel 1 Was the musical tie back to Ives, or to his followers, here Carter? (fade Carter) It was Gorki's flag which bannered the pfncer attack (action painting and color field) of the New York School, of which Motherwell would write: The present vitality of American Art is connected with the unparallelled depth of our democracy. 66) 0. Pollock 1943, Pasiphae, Coll'n Lee K. Pollock (or a later one?) Pollock's liberation is like that of a Cage happening. MUSIC: John Cage c. 1954?, from Variations IV, a live performance. Everest 3132 In poetry it was the old Pound (though hardly democratic) whose Canto's stirred such unleashing. The stench of wet coal, politicians ............... e and ...........in, their wrists bound to their ankles Standing bare bum Faces smeared on their rumps, wide eye on flat buttock. Bush hanging for beard, Addressing crowds through their arse-holes. Addressing the multitudes in the ooze, newts, water-slugs, water-maggots... howling, as of a hen-yard in a printing house, the clatter of presses... foetor, sweat, the stench of stale oranges, dung, last cess-pool of the universe... the great arse-hole, broken with piles, hanging stalactites, greasy as sky over Westminster... chewed cigar-butts, without dignity, without tragedy, ........m Episcopus, waving a condom full of black-beetles, monopolists, obstructors of knowledge, obstructors of distribution. (end Cage) 67) Franz Kline 1959, Initial. Robt. S. Scull. Gt. Neck, N.Y. In that booming growth market of elemental art, when the international Black Mountain voice of Franz Kline lets loose, in one of those huge free-brush signatures (this of 1959, called Initial), what is that 100 inch vehemence of Chinese caligraphy turned to muscular release telling us of? If of Jung's "superhuman world of contrasting light and darkness"-- �20th Cent. Melt - 28 C.G. Bell the primordial experience rends from top to bottom the curtain upon which is painted the picture Of an ordered cosmos, and allows a glimpse into the unfathomed abyss of what has not yet become -What of Jung's warning: "to which one is therefore in danger of suc­ cumbing"? 68) Jim Gilbert 1949?, Chicago River, detail. CGB & D^B, Santa Fe And when that last old master, Jim Gilbert, about 1949, so aware of post-war experiment, yet pursuing on his own the Cezanne problem of color shapes through the visible (the darks of this detail not unlike those of Kline's ink-writing), when Gilbert gloomed the Chicago River, what does that melancholy bum see in the clouded water but hints of Asian war and ecological catastrophe — Pollock's open-throttle democracy, slinging oil, ready to sling a rod? RocKefexler, Ketropoli ta.n 69) N. Amer. Indian, Mississippi Stage, Duck River, Stone Man, Mus. Prim. Art NYC How much, all over the world, has been melted down into the restless improbability of that chain-reaction. With what timeless sufficiency the stone man of the Tennessee Moundbuilders looks back at the museum lookers of New York. To tell those upstarts how long that forest crouch could have been maintained. 70) Oscar Howe 1962, Medicine Man, US Dept, of the Interior MUSIC: Native American Church, tape of chant with drums Today, even in the Peyote-cult chant of the Native American church (Christian), the irreversible trend is of the melting pot. In this 1962 Medicine Man by Oscar Howe (a Sioux trained in Santa Fe), Indian life gives theme and local color to a panal of which the consciousness and cubistic techniques are world-modern. 711 Clas^sical Mava c. 700, Hill temple stripped of trees, Yaxchilan. Chig,pas —^^-----------------------(Gertrude^om) In 500 years Classical Maya culture had exhausted its habitat �20th Cent. Melt - 29 C.G. Bell (no doubt by cropping the jungle around such populations centers as this Yaxchilan, sacred city in a great bend of the Usumacinta. Abandoned about 1300, it is only now that the temples have been cleared of whelming forest. As when facing the monuments of the Near-East, of India, China, or the Cambodian ruins of the Kingdom of the Khmers, we are staggered by the contrasting glories of pre-Western man, each isolated fastness flowering in its own life and style. 72) Maya c. 800, Jaina Style, painted pottery (whistle). Lovers, Bliss Coll_l£ ---- ----Nat. Gal., wash. DC —'■ '' .So in the late Classical Maya, the Gulf Coast island of Jaina produced wonderfully refined painted pottery figurines, in which ari­ stocratic life is depicted with a finesse and verve as of the Orient, though with a fusion of beauty and the mocking grotesque elsewhere un­ paralleled -- a tragi-comic individuation on its own human terms, to which we have lost the clue. 73) M. Ocoranza C. 1870?, The Withered Flower, Bellas Artes, Mexico DF How weird, after the conquest, to see the whole expanse, from Toltec through Aztec to Maya, take up the leavings of Europe — Ocoranza, sentimentalist of the Federal District, receiving from Greuze of The Broken Pitcher this erotic double-talk of lechery and morality the poor debauched girl tearfully contemplating her snapped lily. 74) Orozco 1937, Hidalgo, fresco det., stairhall. Pal de Govierno, Guadalajara No wonder the mawkish mummery broke to Orozco's frescoes of the Revolution, where the Meschittf firebrand Hidalgo frees the enslaved masses. Though that would-be socialist upheaval empowered another exploitation by the few. 75) Orozco 1939, Man of Flame, fresco, Hospicio Cabanas, Guadalajara Prophetic, that the national series of between-war Orozcos should A, �20th Cent. Melt - 30 C.G, Bell culminate in the cupola of the Hospicio Cabanas in Guadalajara, the dilemma of the man of flames -- as with Kazantzakis' Odysseus -- that to live is to be consumed, the ascent of man inevitably his conflagration. 76) L. Garcia Guerreo 1961, Pintura 99, Priv. Coll'n, Mexico, DF Meanwhile art-Mexico settled from the '30's peak of Expressionist propaganda realism to the undifferentiated internationalism -- whether weak or strong -- of Guerrero's flame and black abstraction, entitled, after Kandinsky and the rest. Picture 99, 1961. Nok Sculpture of Nigeria c. 600 BC, 77) MUSIC: ------- Terra Cotta Head, Inst, of Arts, Detroit Malinke (14th c. Mali of E. African), Percussion Dance (calabash water drums tuned in 4ths) 01ympic:Atlas 6110 The African Black enters art in the Nok terra cottas of Nigeria about 600 BC, these heads as charged with force as the drum rythms which, from that continental base (here the 14th century Mali of East Africa) and with unparallelled dispatch, would ravish the entire world. 78) Hellenistic c. 1st cent.BS, Young Negro Musician, bronze, det. Chalons-sur-Saone A measure of that power (with which Faulkner, who calls it indomitable, has energized his fiction), that when it fans out 500 years later from the Nile into Graeco-Rome, the most sophistic Hellenistic bronzes suddenly sway with the pulse of black body and the throb of black soul. 79) Eakins 1878, Negro Boy Dancing, watercolor, Metro. Mus, NYC A measure — that when in Eakins' Emancipated Philadelphia (after the Civil War) the lithe banjoist strikes up, it is recognizably in the same beat; and when the boy responds for his father with a dance, it is with the unaltered suppleness of abandoned ligatures. No doubt, through all vicissitudes, the Negro, as unmistakably as any group in history, will have held his own. (fade Malinke drums) 80) Abu Salley (US Black) 1977, acquatint & etching; "And they tried to kill all our Buffalo"; C.G. Bell Coll'n �20.th Cent. Melt - 31 C.6. Bel 1 Yet when today's American Black rouses the Irish blood of his ancient servitude, and under the Mohammedan name of Abu Salley, takes over, in post-Gdya etching (with the hanged Christ), the dismembered totems of our Indian tragedy -- "They tried to kill all our Buffalo" -- he is as catastrophically world-modern as the French, or English poems of the New Africa • this Parkes, of Ghana, "Apocalypse"; In the last days'. Strange sights shall visit the earth. Sights that may turn to blood the moon. This sun to midnight -- in the last days. But now, when swords are not yet ploughshares. And spears still spears... Remember, my little ones... If in this strange sub-human realm Your eyes fall on a stone, a hard black stone. Lifeless and muddy, that has grown a beard. Pray children...ask no questions... If perchance you see a hare that roars Or an ape perched in a palanquin. Look on in silence. Quickly pass by. Quickly. 81) Double: Attic c. 285 BC (replica). Head of Epicurus, Met. Mus., NYC; and Hadda (Gandhara) c. 4th cent. AD, Stucco bust of an Ascetic, Mus., Kabul MUSIC: ______ Bismillah Khan (Benares) Shehnai (cf. oboe) & acc't, Raga-Lalat, Odeon V..::::: ------------MOAE 113 The excavations of the Indus Valley reach back to the earliest civilizations of the third millennium; but the India we think of as primordial, has elaborated its arts since contact with Alexander. As Dion Chrysostom records (c. 80 AD) : "even among the Indians, they say, Homer's poetry is sung, having been translated by them into their own dialect." If the epics so implied .claim -- like the Vedas — the second millennium of Aryan conquest, the earliest Sanscrit inscription remains of 150 AD; and who can rear a history of thought, poetry and music over the flux of oral tradition? In art, on the contrary, we perceive at a glance the Indianization of the Greek philosopher �•$ C.G. Bell 20th Cent. Melt - 32 image, from this urbane Epicurus (left) stemming from the 3rd century BC; to the Gandharan ascetic of Hadda (right), in what is now Afganistan. 82) Indian (Madya Pradesh) c. 1000 AD, Kandarya-Makadeo (Siva) Temple, Kajuraho, N. India When Bismillah Khan of Benares performs on the Shehnai (a kind of oboe) this Raga-Lalat, a melody of morning pathos, to the tablat 16 beat Teental rythm, that improvisation of today issues like robed Brahmins from the por­ tal of the living past -- this lOOOAD Shiva temple in Madya Pradesh. Here no revolution has occurred; in art, in music, in the recitation of Sanscrit hymns, it might seem timeless India was flowering still. (jump to close of ■ Ra^ 83) Indian scene, on the banks of the Ganges in Benares (Hurlimann,) Though the whole life of India, through British occupation, Ghandi and the achievement of independence, cries out (as here on the Benares banks of the Ganges) how desperately that soul-stretched land is caught in the aTl-melting whirl of modern necessity ; good nighti" "Do not go gentle into that It is the Third World of Galway Kinnell's "To a Child in Calcutta"; In Calcutta, I thought. Every pimp, taxi driver, whore and begger. Dowsed for me through the alleys day and night -In Bandook Gulli I came upon you, I On a street crossed by fading songs I held you in my arms Until you slept, in these arms. In rags, in the pain of a little flesh. 84) Affandi (Indonesian Expressionist) c. 1940?, The Barber, Museo d'Arte Orientale, Rome And when Buddhist India spilled over into the Cambodian Kingdom of the Khmers, how remote that jungle majesty from what the Wes tern-trained Expressionist, Affandi, has recorded in his "Barber" -- not to speak of the Manifesto now invading the Indonesian poverty- vacuum of coca-cola exploitation �ts 20th Cent. Melt - 33 C.G. Bell and napalm-war. 85) China (end Raga) (Sung) c. 12th cent., Kuan-yin (Bodhisattva), Fine Arts, Boston MUSIC: Ancient Chinese, Tzuey Ueng Charn, played on the chyn (zither), RCA-V-LM ---■ —----------------------------------------------------^--------------- 6057, Side 1, Band 1 Erom the imperial China of this 12th century polychromed wood; Kuan-yin Compassionate Bodhisattva in the posture of Royal relaxatioi^a figure of meditational command, with a zither tune of refined intoxication, 86) (end zither) Hua T'ien-yu (Chinese Sculptor) c. 1940?, Air Raid, Priv. Coll'n, Paris the same time-vortex whirls us (about 1940?) into the "Air Raid" of Paris trained Hua t'ien-yu; where Oriental mother and children, stretched on the. wish and danger of romantic self and mechanized war, seek, like a bomb shelter, the containment of abstraction. Though again what would intervene would be the Communist absorption of individual desire in a realism no lessTfestern than propaganda gladness -87) No. Korean 1975, "The Fatherly Leader Marshal Kim.II Sung with our Compatriots, from Japan", Commun. Publication here from the-Democratic People's Republic of North Korea, "The Fatherly Leader Marshal. Kim II Sung with our Compatriots from Japan" -- which, though it purports to be most militantly of the East, has scarcely a trace of anything Less Euro-American than pie in the sky. Is not the touted "Immortal Juche Idea" of the fatherly leader himself a plural rehandling of the most blatant Victorian poem, Henley's "Invictus": "I am the master of my fate...the captain of my soul"? At the same time that the East has materialized that promise -88) India (N.W. Deccan) MUSIC: 5th Cent., Gautama, the Buddha, Cave 10, Ajanta Tibet, Lamaist Chanting, RCA-V-LM 6067, Side II, Band 1,b the flower-child West, alienated from those goods, reverts to a quietism the Orient has abandoned — this haloed Gautama Buddha of 5th century Ajanta, with �20th Cent. Melt - 34 C.G. Bell Tibetan drums and chant. That an ancient cave religion, however, stemming from the earth-denial and search of soul it shared with early Christianity, could now, uprooted from its habitat, answer for mechanized man, seems as in­ congruous as when a Buddhist monk rides a motor bike to his protest immolation, 89) (fade Lamaist chant) Blue glow of Neutrons in a high flux reactor. Oak Ridge, Tenn. and uses the gasoline to set himself on fire. Here art images knock under; since that blue grotto of neutrons in the water of a high flux reactor at Oak Ridge, Tennessee, says things no painting, statue or building will ever say about the Promethean overweening of our three­ fold world, its fission and fusion building to a threshold, whether of advance or catastrophe is not yet decipherable in the cards. 90) Double: Paul Klee l903. Portrait of the Artist's Sister, and 1918, "Einst dem Grau der Nacht enttaucht", both Klee Foundation, Bern Is the spaceflight from connection the only art-vivifier, where syn­ thesizing responsibility has gone stale? Thus Klee from 1903 (left) to 1918 (right); and surely if realism offers so little in the treatment of a loved sister, it must be time to dissolve those constructs of the physical, into cryptographs of lettered color-squares: "Einst den] Grau der Nacht enttaucht" — "Once from the gray of nighd; emerged/ The heavy and dear/ and strong from fire" -- with the rest of the fathomless message, penned above and painted below. 91) Mexico, Mahogany Logs on a pon. , near Lacanha, Chiapas (C6B '78) Was there a tie, when the abstract chessboard took over, in the break­ down of realistic cultivation — a link always stronger from war through between-war and second war, to now (mahogany logs floating on a lake in the vanishing Lacandon rain-forest, Chiapas)-- a tie between the miscarriage of earth and of art-representation -- �20th Cent. Melt - 35 C.G. Bell 92) Skylab nears reentry 1979, NASA (Smithsonian May 79) as between the desperate gamble of other worlds (Skylab 1979, nearing reentry), and the assault of abstract art on the secrets of the void? 93) Geo. Catlin 1836, Sioux Indians pursuing a stag in a- canoe, Smithsonian ------------- ----------- —-----------------Wash. DC Wherever-polarities, (Empedocles'^Eros and Eris, Love and Hate) are to be drawn, like light and dark, from the mottlings of the actual -- all phenomena, all experienced states, though we give them polar names (as bound and free), can no more coincide with their limits than a hyperbola can touch its asymptotes. Fire and water treated as symbolic opposites are other than their haunting appearances in nature and history. As far back as Catlin's first studies of fhe American West, this water-rich concord of man and nature sets firestick killer against grazer. 94) Catlin 1830, Prarie meadows burning, upper Missouri, Smithsonian, Wash.__DC As here the same upper-Missouri sets, against the slow uprearing of plant, fire -- both Heraclitean, all-consuming limit, and a seasonal process, destruction contained in the form-building balances of nature. Already Catlin's America is stretched over straining absolutes of leaf and flam^. 95) Japan (Heian Period) MUSIC: lOth-llth cent., Dai-itoku Myo-o, Fine Arts, Boston, Peking c. 1850,opera. Beheading a Son, close, RCA-V-LM—6057 (1 ,6.) So if they were indeed gods, those worshipped ambivalencies (this Daiitoku Myo-o, fire guardian of the Esoteric Buddhist Pantheon, with whom our World Melt began — here too with Peking opera), they must have stared through it all before, like Yeats' "Old Rocky Face" — laughing "in tragic joy". (end Peking Opera) Foreseeing that at the end of romantic reversal and abstract splurge. �20th Cent. Melt - 36 C.G. Bell from between wars and after, to the Hippie disburdening of all restraint, ■96) M. Rothko 1936, Self Portrait, estate of Mary A. Rothko ther^ would come a man named Rothko, American, born in Russia 1902, his 1936 Self Portrait the burnt-out malaise of old Europe landed in Melting Pot New York, — that pathos of the '30's crying for the ab­ stract conversion of the '50's, compared by some with Paul's cataclysm by blinding light — though William Carlos Williams' "I gave up" had explored the way -- based everywhere, from fceat defiance to drugged hope, on the same desperate evidence, to boost ultimate negation into transration orbit; -97V Rothko 1938, Subway Scene, Rothko Estate (Guggenheim Rothko show). Foreseeable, he would try New Deal realism, still groping at age 36 — this Subway, he would try, and fail, rather inconspicuously; until surreal and abstract, Kandinsky, Miro, Gorky came to the rescue 98) Rothko 1945, Primeval Landscape, Estate of the Artist (Guggenheim Show) (this primeval Landscape of 1945) — as he would later theorize: The progression of a painter's work as it travels in time from point to point, will be toward clarity; toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer. As examples of such obstacles, I give (among others) memory, history or geometry, which are swamps of generalization from’which one might pull out parodies of ideas (which are ghosts) but never an idea in itself. To achieve this clarity is, inevitably, to be understood -ignoring Jung's devouring abyss, where Idea, stripped of world-content converges the limits of infinte and void -- what Sylvia Plath longed toward in her "Poppies in July": Little poppies, little hell flames, Do you do no harm?... A mouth just bloodied. Little bloody skirts 1... If I could bleed, or sleepl -- �■ » 45 20th Cent. Melt - 37 C..G. Bell If my mouth could marry a hurt like thatl... But colourless. Colourless. He on the verge of that, talking of myth and the collective un­ conscious, yet drawing from the abstract surreal no such archetype as Picasso's GLsrrrica, still searching, through dream roots, swirl and vegetation, a 43 year old genius, not yet sure -- the private life also in upheaval... 99) Rothko 1961, Number 118, Nordrhein-Westfalen Coll'n, Dusseldorf MUSIC: Messiaen 1940, Quatour pour la Fin du Temps, Beginning of last mvt, ----------------------------------- —---------------------------------- Deutsche Gram. 2531 093 When suddenly, 1949, almost ten years after Messiaen's Quartet for the End of Time, Rothko, in touch with Barnett Newman, who had like­ wise probed the surreal, and then struck deep into color pools crossed by one or two (more vital than geometric) bands -- now Rothko, nearing 50, took up the rapturous drowning -- those soul absorbing color glows, melting at the edges like cloud: -- such a breakthrough as the poet Roethke's, though his led, outwardly, to classical measure: In a dark time, the eye begins to see, I meet my shadow in the deepening shade... I wake to sleep, and take my waking slow. I learn by going where I have to go. How slowly dark comes down on what we do. 100) (fade Messiaen) Rothko 1970, Black on Gray, Acrylic, Anon, owner (Guggenheim show) MUSIC: same Messiaen, close of last movement Although the soul-solitude of those paradox voids plagued Rothko with continual self-doubt, for 20 years he pursued the logic and mystery of that inmersion, culminating in the '60's in contemplative rooms of such hypnotic panels. Though of those for the Chapel of Religious �20th Cent. Melt - 38 C.6. Bel 1 Meditation in Houston, arranged like ikons by singles and triptychs (in suggested accord with the Passion of Christ) he said in disappoint­ ment, shortly before his suicide; "I was always looking for something new more." He was 67, in poor health and with/family troubles; yet the release of the primordial, to draw an always expected more from an always attenuated less, until the infinite hangs on the zero, gives that death symbolic dimension. At the end, he thinned to acrylic in this horizoned Black on Gray, whose Dark Light, draws us on, as to a landing on a formless planet, to grope the alien atmosphere for whatever we once called our own. ... Is this the way The world melts, on the wind suffers a cloud change? (close Messiaen) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charles G. Bell's Symbolic History: Through Sight and Sound Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Description An account of the resource Scripts of Mr. Charles G. Bell's Symbolic History series. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 38 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 20th Cent. C: World Melt, Symbolic History, Part 37 Description An account of the resource Script of Part 37 of the Symbolic History series by Charles G. Bell. Creator An entity primarily responsible for making the resource Bell, Charles G. (Charles Greenleaf), 1916-2010 Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource [1988-1990] Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_BellC_Symbolic_History_Script_37_20th_Cent_C--World_Melt https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/a27b308a6a701550eba519fbf53118f4.pdf 47b85130009de431ff7037116a135e97 PDF Text Text 250TH ANNIVERSARY <l I' Fou nding of City of Annapolis A :-1 D 'I' I I E Passage of Maryland Religious Toleration Act,. Under the f\u soiGes of Young Men's Ghristian f\ssoGim.ion, 0 F A N N A P 0 L I S. ~~ ----~~~Ill ftPJtiL 13, ~~l 1 G 4 9. 13, 189 9 . ~~~ =~~~:c~ - )); : . : :- :-._ __ cc:~~~)~ :- _ >>~f) . / O l "FICERS O F M it. ll ,\1(1(\ - TELE J- OCC_A_SIO:N' _ , l ! Oi'K J:->s , l 'n ·sidot!. I '/,·,·-/'n ·sidntls : L. J. Tv!. I \nY u, l .'l .l ll ·: s i-:. A. l\L M L':-ilwE, SEI ll\\T fZ, D .- ,dEL \ R. RANDAL L , E. CA:->TT , J <H I :-; [)r-: P. DOL ' II-, c- ( ;u '· _\ _ C l ' I. \'EI C 1 >H. T un s. Fn.L, B I'H c i i -J-: 1 ( ; _ IU>J:->1-: H, ( \ ll. (). l'ARI.ETT , Ho:-;. ~Zom· . Mos s, ll. R. \V! A(;RUD E H, C R AFT0 :\1 R W OUT, D R. CEO. T. F EL D M E Y ER , FRANK 1\llUXIWE , DH . 1\'A sHI :-;(;-rn :'l Tt•c K_ .-\. l \. C AI(I'I - H, : W. 1' . 1 \'J LS(• :>;, ( ; l·:o . Fl , l\ lll·: s, Cll. \ I{L E S ( ; , FI:I.)) .\J E \' I·: t< , .S~t' J t: ' lrrl ·irs, Jlusira/ I !i;-,-d,>r ., ( ;lJI.'III i lkt: j oSEI "I I M .· A H .II ST R o:--:c, \V ~ i- Fl:l .l> ~IE\'1-:1{ , S .I .I I I ' E I. _1<~ :-;~-:s _ · E. t!/ / 1/ n r;~~,.r'iJi t •JJls: C hairm ::u j o iL ' \V 11n R .I:--:IJ\ LL, E L IIlf ' RI LE\', C. F. s. _ uu:-; sc :o; , .'-.·, .,- . l /\ �?iPROGRAM. !~ )~ - - -)(- - Address by th.e President. "The lnfluence of Maryland in Formation of the Ut1ion . " HON. LLOYD LOWNDE S. THE STAR-SPANG LED BAN:'-JER. By Francis Sco tt Key. By Solo, Dtc GEn. F ELDiiTE'lER . CHORUS--By the Audience. 0! s;1y, ca n yo u see by the dawn's early And where is the band who so va untingly light swore, What so proudly we hailed at th e twiThat the havoc of war and th e battles light's last gleaming; confusion Whose broad stripes and bright stars A home and a country should leave us no through the perilous fight more? O'er the rampart s we watched were so T h eir blood has " ·ashecl out the ir foul gallantly streaming; footstep's pollution . And the rocket 's red glare, the bombs No refuge cou ld save the hirel in g and bursting in air, s lave Gave proof through the night that our I From the terror of flight or the gloom of tlag was ~t ill there. the grave. I r; ·' ' l 0! say, does the star-spangled banne·r And the star-spangle d banner in triumph cloth wave still wave o· er the land of the free and the home of O'e r the hm d of th e free and the home of the br:we. tl1e hraY e? On the shore , d imly seen through the 0 ! thus be it ever \1 hen freemen slwll m ist of the de ep, stand \V h ere the foe ' s haughty host i n dread Petwee n their lo1-cd home s and the sile nce repose s , foe's desolation ; \Vhat is that wbich the breeze o'er the 1 Bless'd with victory a nd r;cace, ma y the towe ring ste e p, H eav e n -rcsc uccl land As it fitfull y blo11·s, half conceals , ha lf Prais11 the power that has made and disclo'ies? pvesc rvecl us a nati on! Now it c<~tc hes the gleam of the morn- Ther co nqu er we mu st , IYh e n our cau"e ing ' s firs t be am, I it is _iust, In full glory reflected no11· shi ne<; on tlw ty\l.cl this b e our mottn-"ln God is ou r st ream . 1 tru st." / \ '· 'Tis tbc star-spangled banner, 0 ~ lon<{ l And the star spangled banner in triumph mav tt w~we J shal l 11·ave O'e r th~ land of the fr ee and the lH(t'm ·[ O'er th e land of th e free a nd the home of the b ra1 e! \ of th e bra\'C . "The Policy and St::1tutc o f Tol d atinn iLt i\!aryland." !lo~.jA.Itt:s At.FttE IJ l'EAHCI,, Assor i:ltc-Justi ce of th J -: n urt nf i\ ppc:1],; of i\1 ~n I ;1 nd . . t- I, ~r �CuoRt'S-MA R YLA N O, MY MARYLA N D. \ ! \Vrilt e u by .Ja111e ~ Randall. I Thou wilt not cower in th e dust, Maryland, m y Maryl a nd . Thy beaming swo rd shall neve r ru st, Mar yla nd , m y Marylan d. R eme mb e r Carroll's sacred tru st , H.e memb er Howard's wa r-like thru st. And all th y slumb ' re rs with the just, Mar yland, my M ar yla ncl. Thou wilt not yield th e vand at toll, l\Iar yland , my Maryland . Thou wilt not crook to hi s co ntrol, Maryland, my Maryland : Better the fir '! upon thee roll , Bette r the ~hot, th e bl ade, th e bo\\"1 , Than crucifixion of th e so ul , Mar yland, ·m y 1\'f a ryla ncl. I see no blush upon thy c heck, Ma ryla nd , my Ma ryl a nd . Tho' th o u wast eve r bravely me ek , Maryland, m y Ma ryla nd . F or life a nd death , for fo e a nd 11·cal, Th y pee rl ess chi va lry re vea l, . And g ird th y b eauteous limbs 11·ith steel , Maryland, my Maryland. I h ea r the dista nt thund er hum , Mary land, my l\'l a rylan d . The old-line bug le, fife a nd drum, Ma r yland , my Maryland. Come to thine ow n he roic throng , That stalk s wi th Libert y along, And ring th y dauntless slogan song, Maryland, m y Mar ybnd . "' Earl y Men o f Anne Arund el." l' IH IF. J. D. \\"AT\ Fi t-: 1.1> . ' CHOHl's--CO.I·.U MIll A. - " 1'rai se Cod. T oday ." ·written by Elilnt S. Ril ey for th e se rvices at th e \'. XI. C. ,\ . , Annapo lis, Maryland, Jul y 4, 1897. 'run e of ' 1Com e, 'l'hon Hymns, No.5· Alm ig ht y Ki11g. ,-- 1tnlinn Hymn, pag-e 202, and hymn 2.u, Freeme n, praise (;od toda y~ Safe h ath He led the wavOur cottntry kept;__: H eld by His lovi ng hand , :"\for roc k , nor ocean' s strand , Nor hidd e n ledge, or land, Our hark hath s11·e pt. ]{ide on, oh. ship di vine! T hv co urse " ·as ch osen thin e; 'By llcity; He IITought thine en' ry pa rt, lit- m ad e thee ll'hat th ou art. !I.e gave thee fro m Hi s heart, Thy lilwrty. I Free man , praise C od today T o Him ll' e raise our lay , He form ed ou r Lan d: Le t us His pra ise s sho"·, And make all nations k1w11·, ' ocl all goo d 11·c owl' , And His kin d hand. ~ B' st be our land for aye! \ 1 is g ra ce be e1·er nigh :His h elp he gi 1·en , l'o lead Columbia o n , fill ti me's last setting s un,lf' ill right fo r a 1\ he ,,·on, .-\ncl Ea rth be rleal'e n .. �,,.1 he hr~l SctLle nlent on the Se1 et n." HoN. Jon:-.: \Vmor RA :-.:nALL. AM ERIC.'\. C nnt{l"S-- "M y Cnunlry 'Tis of Thee." My country ' tis of the<', Sweet land of libe rt y, Of thee I si ng ; Land where our fathers died , Land of the pilgrims' pride , From every mo untain sid e, Let freedom ri ng. Let mu sic S\\·ell the breeze , And r ing from all the t rees, Sweet freedom's song; Let mortal to ng ues awake , Let a ll that breathe pu rtake, Le t rocks their silenc e b reak, The: sound prolong. My na tive country, thee, Land of th e noble freeThy name I love ; l love thv rocks a nd rill s, Thy woo- an d te mpled hills : ds My heart with rapture thrill s Like that a bov e . Ou r father's God to thee, A uth or of Liberty, To thee I sing. Long may our land be bright With free dom's h oly light ; Protect us b y thy migh t, '· Great God , our King . ~Lectun~ on "Alaska a nd its Gold F i elc1s, " by Prof. J, \V Chick ering, of Washi ngton, D . C., in Y. M. C. A . H all , April 18th, at 8 P. M. ·~?~ ·.·-···-·~ // , ,. ,~.. <! • - ~ .:r ~¥i:"rj) ~ l·: , · E"< l '>i: CII' I" I. L L j !'lint . . I \ .I � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 4 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 250th Anniversary of Founding of City of Annapolis and the Passage of maryland Religious Toleration Act Date A point or period of time associated with an event in the lifecycle of the resource 1899-04-13 Identifier An unambiguous reference to the resource within a given context Bx1-55 Description An account of the resource Program of the 250th Anniversary of Founding of City of Annapolis and the Passage of Maryland Religious Toleration Act, Under the Auspices of Young Men's Christian Association, of Annapolis Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/a3214dc50412c9c7964d2bfc31f9e728.jpg 877e26af04f68e19f0a7de9de75c0e5d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 20.5 x 25.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Identifier An unambiguous reference to the resource within a given context SJC-P-1166 Title A name given to the resource 275th Anniversary Celebration on Front Campus, Annapolis, Maryland, 1971 Description An account of the resource 1 sheet : 24 proof prints from 35mm film : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1971-10 Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/2d0c05e33fd5e4cc9def3d22067a269b.jpg 2936072155f2f1d365a40b4078213d72 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 12.5 x 9 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-2312 Title A name given to the resource A [St. John's College] Women's Basketball Game with the United States Naval Academy, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/90ccc63c951a8fcdeaeecbae53ccaee3.jpg d5bfb1e7d4c4da3e4b0931e3bf617554 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 13 x 17.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-2351 Title A name given to the resource A [Student] in Sunglasses Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1980 [circa] Creator An entity primarily responsible for making the resource Parran, Thomas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/68f3a583cf9504ada28f749bfce5ffd2.pdf a42e69f5025bff2259b3a06065dd6733 PDF Text Text ��������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Transcripts—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College at the Santa Fe, NM campus. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 33 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A background for perplexity : some fundamentals of quantum theory Description An account of the resource Transcript of a lecture given on September 26, 1986 by Hans von Briesen as part of the Dean's Lecture and Concert Series. Creator An entity primarily responsible for making the resource Von Briesen, Hans Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 1986-09-26 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource Quantum theory Language A language of the resource English Identifier An unambiguous reference to the resource within a given context 24000221 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/71b80fc3ff6469daeb0721fb664533e4.jpg 85f5990b67cbde81d73b6d497806916a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 20.5 x 25.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-1181 Title A name given to the resource A Bearded Graduate in Academic Robe, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1972 Creator An entity primarily responsible for making the resource Elzey, Craig C. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/1703c3112f8b2f06b62e6eea37bd4a10.jpg fbc181a8702068714931a136022fd03b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-1009 Title A name given to the resource A Boat Built by Franz Plunder and a Student at the Beneficial Hodson Boathouse Dock Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1940 [circa] Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource Plunder, Franz Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Hodson Boathouse https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/febb7a92881b96697a4df4b01c09da23.jpg 585c15b9184c7145497e4446c8077281 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 24.5 x 19.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0828 Title A name given to the resource A Bookshelf with Great Books of the New Program at St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1940 Creator An entity primarily responsible for making the resource Eisenstaedt, Alfred Subject The topic of the resource Great books of the Western world St. John's College (Annapolis, Md.) Curricula. Books Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/13a5997fc05239b0762f6271482646ff.jpg 37c42bb4355c0e4208a8f17949fc111f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 20 x 15 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0986 Title A name given to the resource A Boxing Match in Iglehart Hall Description An account of the resource 1 photographic print : b&w Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource Iglehart Hall (St. John's College, Annapolis, MD) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Iglehart Hall https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/10a46b5b3a2ba662e3e24a9100d1b047.jpg c4e764c4ace3e7835358a404d98b2cdd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 20.5 x 25.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-2385 Title A name given to the resource A Brick House, Annapolis, Maryland Date A point or period of time associated with an event in the lifecycle of the resource 1900-1910 [circa] Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Description An account of the resource 1 photographic print : b&w https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/69d748200d2eca76deff0aa0462d17d2.jpg de0c9ac773a092d5d5b2aba4bafd91f0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 20.5 x 25.5 Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-2424 Title A name given to the resource A Ceremony in Robes in the Great Hall of McDowell Hall, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic copy from the St. John's College yearbook : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1943 Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. McDowell Hall https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/2cc84a522ed253fbcb57447383433d84.jpg 839fc5c3757bd47b3faab8f2459eb94d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0899 Title A name given to the resource A Chef Working in the Randall Hall Kitchen Description An account of the resource 1 photographic print : b&w Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource Randall Hall (St. John's College, Annapolis, MD) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Dining Hall Randall Hall https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/0ac34a0f1ee00c0afada12b968751e93.jpg 45863623d005072a992d6506d38674f1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-2138 Title A name given to the resource A Child on the Steps of McDowell Hall, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/acc4e2ba2516c7597f5b2a88797a275e.mp3 f585ba7cdaae4ce3fdfb85a15877cb1c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:01:21 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Clearing in the Forest: Heidegger’s Thinking Description An account of the resource Audio recording of a lecture given by tutor Frank Hunt on May 3, 2023 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "The lecture uses Heidegger’s 1966 “The End of Philosophy and the Task of Thinking” in an attempt to elucidate his assertion in the final section of “The Question Concerning Technology” that the essence of technology 'harbors in itself the saving power.'" Creator An entity primarily responsible for making the resource Hunt, Frank R. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2023-05-03 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Heidegger, Martin, 1889-1976. The End of Philosophy and the Task of Thinking. Heidegger, Martin, 1889-1976. The Question Concerning Technology. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_HuntF_A_Clearing_In_The_Forest_2023-05-03 https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/a5e353c1f1f70e7e355a4bb12d2653ec.pdf 1c88700236281615e14da8849c6b9046 PDF Text Text T H E C A M P A I G N F O R S T . J O H N ’ S C O L L E G E A COLLEGE UNIQUE AND UNIVERSAL EVA BRANN �{ T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E A COLLEGE UNIQUE AND UNIVERSAL E VA B R A N N } �3 Eva Brann has been a tutor at St. John’s College in Annapolis since { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E Contents 1957, serving as dean from 1990-97. A Jewish immigrant from Berlin, Miss Brann went to Brooklyn College and later earned her master’s in classics and a doctoral degree in archaeology at Yale University. At St. John’s, she is one of the college’s longest-serving and most respected tutors; she has been a mentor to students and tutors alike, 1. Unique and universal? • page 6 2. We have one Program; do we have one expertise? 3. • page 13 Is the “how” of our teaching connected to the “what”? • page 16 and a model for the “examined life” the St. John’s Program encourages. Miss Brann has written many books, including Open Secrets / 4. How do we choose and evaluate our tutors? Inward Prospects: Reflections on World and Soul; Homeric Moments: 5. • page 26 How do we select and monitor our students? What is their life like? • Clues to Delight in Reading the Odyssey and the Iliad; The Music 6. What are the relations between tutors and students? • page 37 of the Republic: Essays on Socrates’ Conversations and Plato’s Writings; The World of the Imagination; What Then, Is Time?; and 7. What’s wrong with us? The Ways of Naysaying: No, Not, Nothing, and Nonbeing. Miss 8. What kind of institution does our Program require? • page 40 • page 43 Brann’s many honors include her selection as a 2005 recipient of the National Endowment for the Humanities’ prestigious award, the National Humanities Medal. 9. What are the essential features of our Program? • page 48 10. What is the St. John’s Seminar, the center of the Program? 11. What do we do in the tutorials? • page 58 • page 65 a. the Language Tutorial b. the Mathematics Tutorial c. the Music Tutorial 12. How does the laboratory fit in? 13. What do we want from and for our students? • 14. What do we wish for – and see in – our alumni? Illustrations by David Johnson page 67 • 15. Postscript: A small college and those that love it. page 70 • page 72 • page 52 page 31 } �{ A COLLEGE UNIQUE AND UNIVERSAL } 4 Introduction 5 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } prospective students, inquiring teachers, and close friends, for example – and alumni. These are the same issues sometimes seized upon by critics of St. John’s: the choices In this essay, the college’s longest-serving tutor, Eva Brann, explains what on our reading list, our requirement that tutors teach across the curriculum, and a St. John’s College is and why what we do is important. She describes the college as, practice of not including in our classroom discussions the historical, cultural, and paradoxically, “unique and universal,” because St. John’s persists with its singular social background of the texts we read. and distinctive academic program while holding to an ideal of education that is meant to apply to all humankind and has, in fact, resonated throughout the world. These questions grant us the opportunity to reflect upon the integrity and wholeness of the Program. We believe that the best way to learn is to confront the texts of In no way is the college perfect, Miss Brann acknowledges. Many aspects of the the greatest minds of our civilization, with nothing between us and the work, not even college, for instance, the breadth and depth of the reading list, represent both our tutors. Yet, we recognize how important it is to have tutors who bring both intellect greatest strengths and our most daunting challenges. And yet St. John’s continues to and imagination to their discussions, and who understand how to frame a question attract international attention, welcomes scores of visitors to its two campuses, and is that will open a world of ideas from a simple passage. called upon to offer seminars to many different groups outside our college. What we Our books and our program demand more of us than, in truth, we are capable of consider a very simple and natural way to teach – cultivating in an individual the achieving. It is this stretch in our search for truth, however, that allows us, as a ability to formulate questions and begin the search for answers – intrigues many who community of learners, tutors helping students, students helping each other, to come to know St. John’s because of the intellectual honesty of our endeavor. We don’t achieve some measure of greatness. That all of us at the college continue to have faith pretend to be something we’re not. On the other hand, our ways are not easily in this endeavor is perhaps to be celebrated above all. adapted for just any college or university, nor do we have a “method” that can be defined in pedagogical terms. As we launch a campaign to strengthen and secure St. John’s College, we are thankful for this clear vision of what liberal education is. In answering fourteen questions that get to the very heart of the college, Miss Brann explores issues that are interesting to both curious observers of the Program – Christopher B. Nelson (SF70) President, Annapolis �{ A COLLEGE UNIQUE AND UNIVERSAL 1. } 6 Unique and univ ersal? 7 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } When people first hear of what we do they can scarcely believe their ears. We invite them to come and see. The campus is always swarming with prospective stu- How can a college be one of a kind in reality and nonetheless a possible dents and curious visitors. If they are familiar with other institutions of education, model for higher education in its conception? – because that is how we at St. John’s do here are the main differences they will observe: indeed think of ourselves. We are a distinctive community very much shaped by particular people and places, yet we have faith that our way is broadly applicable to other institutions of learning. All small institutions – colleges particularly – rightly think of themselves as 1. We go back behind the modern departmental division between humanities and sciences to an older ordering: authors and arts. 2. The Program is all-required and non-specialized; thus there are no departments at all and practically no electives. unique. All professors cherish their special qualifications along with their students’ 3. Every faculty member teaches all or almost all the parts of the Program. Conse- budding individualities, and the far, dry winds of Kansas blow differently over a cam- quently, we are amateurs rather than professionals, and we mark this fact by calling pus than the close, moist breezes of South Carolina. Uniqueness is, oddly enough, ourselves “tutors” rather than “professors.” what they all have in common – from Chicago to Colorado Springs, from Poughkeepsie This country used to be a boiling pot of curricular reform and innovation. Most of to Santa Cruz – all sixteen hundred or so, belonging to that distinctively American the “alternative” curricula of the last century have come and gone. They were con- species, the small independent school. Each has its own variation on the standard ceived as experiments with the possibility of failing – and they did fail. university plan of departmental offerings, arranged broadly under humanities and sciences, from which students elect their courses. The St. John’s Program was never thought of as experimental. Young souls are not meant to be the subjects of try-outs. From its founding in 1937, its teachers had faith St. John’s College is differently different. We too have our gallery of faculty char- in the Program as the best way known to them to educate young Americans in partic- acters; an English friend says that visiting the college is like stepping into an English ular and all human beings in general; the Program was universal in conception. In fact novel. We even have two uniquely beautiful campuses under different skies. But we it has resonated in the wide world. When I was dean I received inquiries and visitors differ seriously from the conventional variations of other schools in having one single from Madrid to Tbilisi and beyond. So rather than watch the curriculum fail with plan of education, our Program. Whereas other colleges’ uniqueness consists of their personal regret but intellectual equanimity, we would think that some central pivot of internal variety, ours derives from a coherent curriculum. civilization had been lost, should the college disappear – and it won’t, now. �{ A COLLEGE UNIQUE AND UNIVERSAL } 8 I have often wondered what we had that other remarkable schools didn’t – Black Mountain College in North Carolina for instance, or the Experimental Program in Berkeley, California. I think what we had was the Program: Our community was from the first built not on assertive personalities and unstable curricular notions but on a strongly grounded plan of learning, pretty nearly the same that we still follow. In an educational world in which commonality is regarded as oppressive, we are sometimes chided for having the confidence, not to say nerve, to submit ourselves and our students to a set study plan. But we think it is a faculty’s responsibility to devise an integrated curriculum for its students’ learning rather than to engage in turf battles in favor of departmental specialties. Moreover, anyone who has lived in a working community knows that it can’t survive without some healthy egocentricity, some sense of being at the center of the world. Who would devote a life to anything less? Our more sober colleagues do continually warn against the notion that we are the world – and they are half-right, for there are many good things we are not, and many other places in this country about which the world also revolves. The brute reality is that we have in fact remained one of a kind. There is, to my knowledge, only one other four-year college devoted to a Program in part modeled on ours, but with a significant difference: Thomas Aquinas College in California has a strongly Catholic integrated curriculum, while St. John’s College has been from its chartering in 1784 (a wonderful date, the first year after the Revolution) a school not enforcing on its students “any religious or civil test, or urging their attendance upon any particular religious worship”; we are now in fact completely secular. And as Madison CHARLES DARWIN �{ A COLLEGE UNIQUE AND UNIVERSAL } 10 11 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } so rightly predicted for freedom of religion, religious interest of every sort flourishes the product of long hours of faculty deliberation, all designed to protect the free at the college. How we read religious books will be worth a paragraph (see p. 70). engagement of our intellects and imaginations – and, of course, our hearts. The real Why have we, who think of our Program as a model of liberal learning which is especially at home in America, remained all but unique in this country? The United States, motion, the real freshness, in this school comes not in doing new things but in doing the old things better. For our founding ways are inexhaustible in their possibilities. as former dean Robert Goldwin has written, was the result of an almost miraculous con- Undoubtedly we are an establishment, an institution. An establishment of learn- fluence of streams of luck. This college, too, needed a lucky concurrence of events to ing is something of a contradiction in terms, since real learning is a radically disestab- come about: a pair of founders, one, Scott Buchanan, well versed in the whole liberal lishing activity. Strange as it may seem, it is that untrammeled inquiry we are trying to arts tradition, the other, Stringfellow Barr, possessed of administrative talent; a cam- protect with our multitude of established practices. But in the course of maturing we pus on offer; a general spirit of revival for liberal education as exemplified in Alexander have become more and more our unique self. So how can we serve as a model for other Meiklejohn; and finally a European emigration which brought people like Jacob Klein, communities of learning, especially when in our hearts we believe that numbers are who fell in love with the intelligent naiveté of America’s young and brought the learned nothing and what really counts is that here and now one young (or old) soul should see depth with which to effect a second founding, placing under the inspiredly practical something that makes life worth living? Program a philosophical grounding. There was, moreover, the opportune return of the Well, we have obligations to the country that allows us to function, and the public World War II veterans, who were superbly serious students, and above all, a faculty will- that supports us, and to our own two cities, Annapolis and Santa Fe. And we feel an ing to conform themselves to a plan, not the plan to themselves. And this Program they obligation, born of our sense that we know something worth knowing about learning, committed themselves to had an aim and an apex: the ardent pursuit of knowledge and to American education. So we engage in lots of outreach: give free access and help to truth, or as the Greeks say, philosophia, “the love of wisdom.” visitors who want to see us at work, advise prospective founders of schools all over the By now the “New Program” of this old college is itself quite venerable. At seventy world, help committees with curricular reforms, aid teachers with planning courses, years it and its faculty can be said to be mature. We fine-tune it continually, and some- send out reading lists and manuals, explain the Program to people writing disserta- times even make what seem to us world-shaking changes, but viewed, as philosophers tions and books, and go anywhere to lead all sorts of seminars: for high school stu- say, sub specie aeternitatis, “under the aspect of eternity,” they look minuscule. dents (though I once did one with four-year-olds, two of whom had crawled under the Around the stable curriculum have developed zillions of traditions and practices, each table whence they gave enchanting exegeses of a poem on sunflowers), for business �13 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } and community leaders, and of course for our alumni, whose appetite for reading books together is lifelong. In fact, our principle is to do everything we can do without spreading our substance too thin. 2. A LBERT E INSTEIN We h av e o n e P r o g r a m ; d o w e h av e o n e e x p e r t i s e ? It is a question worth asking because, as I will explain, our way of teaching requires that we be and remain, deliberately and purposefully, amateurs. (We keep in mind that the word means “lovers.”) As I said, we call ourselves “tutors”; it is our single academic rank and the title is meant to replace “professor,” which means a professional who has special expertise and the authority that comes with it. All of us arrive with graduate training, but we must let our particular interests go to learn the Program. (I myself, for example, was trained as a Greek archaeologist, yet I haven’t looked at an antiquity – pots were my specialty – in scholarly earnest for half a century.) There is, however, something we all get to be good at, perhaps even specially good: asking questions. The questions we learn to ask – it is one criterion for being a tutor – are not so-called teacher’s questions, such as a pedagogue asks pupils to see if they’ve studied up: “What was Achilles’ mother’s name and where did she live?” – to which the meek answer is “Thetis, in the ocean,” but the spirited answer is: “Why ask �{ A COLLEGE UNIQUE AND UNIVERSAL } 14 15 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } me, since you already know?” Nor are they information questions like “What time is believe that the impetus behind the question is the hope of an answer, as a possible it?” to which Yogi Berra’s immortal reply was “You mean now?” Nor “yes or no” ques- answer draws and shapes the question. In fact St. John’s differs from very nearly all tions, like “Tell me true, is there or is there not Truth and Beauty?,” which could be secular schools in having a faculty that either believes in the real possibility of truth or the ultimate conversation-stopper. in the pedagogical value of not foreclosing that possibility. Another way to put this is Our questions are the expression of a genuine desire to find something out by proposing it for a common inquiry, the kind of question tutors might ask themselves when that you will find no easy relativism among us; our relativists are hard-thinking and fiercely honest. they study by themselves. Such a question is a kind of empty envelope, a vacant grasp, It should go without saying that to believe in the possibility of truth-seeking is the concave outside of the convex inside, an undeveloped negative, a receptive open- the very opposite of having the truth or propagating it. We never tell our students ing. All these metaphors circumscribe a good question, a searching question. In a dia- what to think. In fact, then it wouldn’t be thinking. We don’t even drive them to logue by Plato called the Meno, which many of us regard as the scripture on question- question their beliefs, for “questioning” in the aggressive sense isn’t question-asking. asking, Meno poses the question of questions: However can we ask after truth? If we Our questions are intended to incite thought, which might result in putting stronger have it we needn’t ask, and if we don’t have it we won’t recognize it when it turns up. grounds under the faith students come with or indeed, sometimes, in exposing a belief Meno means to stymie Socrates’ inquiry; Socrates has two defenses at once. One is: as ill-grounded. Never mind, just go ahead and search. The other is: Question-asking and answering is In the same spirit of non-coercive openness, there is frequent discussion among the most characteristically human activity there is, and we must continually consider tutors about the kind of question that is best for a seminar discussion: Should it be not only how to do it well but also what in us makes it possible. Here is in germ what mil- based on a tutor’s interpretation of the book carefully worked out in private (with the lennia later will come to dominate philosophy and cognitive science as “epistemology.” perhaps not so unintended consequence of pushing students in that direction), or This is the kind of problem tutors think about and the kind of questions – questions should it express a current perplexity on the tutor’s part (with the likely, perhaps even in search of truth – they are, I think it is not boastful to say, unusually good at asking; it is something like our local expertise. Some of our friendly critics claim that we are too good at it – that our students come ignorant and leave confused. But it is not so. I don’t know any teacher who doesn’t desirable, result that students will be a bit at sea)? The central venue for questions is the seminar, of which more later (see p. 52). �{ A COLLEGE UNIQUE AND UNIVERSAL 3. } 16 17 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } Is the “how” of our teaching want to talk together about what they’ve learned in private; by nature, the young, if connected to the “what”? not spoiled, like to grapple with what is hard but great. Our business is to get out of the way without giving up our responsibility. Of St. John’s does seem to have two aspects: the way we teach and learn, and course we teach; even Socrates is talking hyperbole, for his companions in fact the matter we set out for ourselves and our students. Both of these are distinctive. think they’re being taught. But – I’m looking for the right word – we do it cannily and Friendly explainers of the Program often refer to our use of the “Socratic method” tactfully. We try to keep students focused and spontaneous, both. It’s tricky and and to our list of “Great Books.” Members of the community cringe a little on both absorbing. I think every tutor, even those who’ve taught here a half century, has stage counts. Here is why. fright before every class, largely because we’re not in complete control, and yet we’re completely responsible. a. How we teach: One obvious concomitant of our way is that we are very reticent with our opinions Whatever it is we do, it’s not according to any method. A method is, properly, a rule- – at least in class. Outside of class I, for one, will pontificate if a student wants it. I recall, governed process, and we adhere to none such. And it isn’t Socratic, not only because when I was dean, three woman students making an urgent appointment with me about Socrates claimed to have been no one’s teacher but because the Socrates we know an important matter. The matter turned out to be what I, personally, thought about occasionally drives people into a corner with his questions – which we never do, at God. We had a candid conversation – for me a real workout. Thus reticence expresses least not without feeling sorry. Yet he is in some respects our model: in rarely telling itself in being sparing with talk in class and conversationally open outside. but often asking, in valuing acknowledged perplexity as the starting point of learning, in having utter faith in the possibility of truth. The reason our teaching is not a method is that it’s just a bit of nature. We do what comes naturally: encourage thinking by asking (everyone here knows that you can’t A number of ways to approach a book require lecturing. One is for the teacher to produce a critical theory into which the book is fitted. It is not entirely unfair to say that this is sometimes the art of making the difficult unintelligible, because academic theoretical language is often willfully abstruse. We don’t do that. “teach people to think”; such taught thinking is just that simulacrum of thought, The other, more common, method is “backgrounding” or “contextualizing.” In rule-driven reason). By nature, people, if not corrupted, like to rouse themselves to this approach the teacher “introduces” the student to the book by telling how the communicative expression; by nature, people want to hear each other; by nature, they book can be understood according to the author’s historical and social background. �{ A COLLEGE UNIQUE AND UNIVERSAL } 18 We particularly don’t do that, for at least two reasons. It does require lengthy lecturing, by the end of which the students’ minds are so remote from the text that little a teacher says next can recall them, and to paint even a somewhat plausible historical setting requires enormous knowledge on the part of the professor – always supposing that the discovery of historical truth is a finite endeavor at all. But even if an author’s epoch were accurately definable, how would it help to understand the book? Many of our writers are overtly or covertly embattled with current opinion and think with rebellious originality about the human condition. So talk of “Greek” or “Medieval” or “American” thought is grossly unilluminating: How can a people or an epoch think? Persons think. I spent a part of my youth studying the Attic pottery of the late eighth and seventh century B.C., the richest evidence we have of Homer’s time – and I have no non-speculative idea what it was that any or all of these people thought about anything at this generative time when the Western tradition was born. Abridged, not to say canned, introductions are mostly compendia of current preoccupations and brave attempts to bring a book closer to students by drawing it into their supposed circle of interest. But this is counterproductive: What arouses interest in students is not currency but authenticity – if it is allowed to reveal itself. So we tutors at St. John’s believe – all of us most of the time – in directness and immediacy; we put nothing between ourselves and the reading and behave as if every one of our books was indeed an open book to our students. I call this the “a cat may look at a king” principle – these royal books were written for us, the willing laity. JANE AUSTEN �{ A COLLEGE UNIQUE AND UNIVERSAL } 20 21 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } I think that this way of ours works in many settings and for many subjects. It is, as and ourselves to consciousness – by reading them not as historical documents but the term goes, transferable – an approach we can tell about and demonstrate to as living presences that made us who we are and taught us to talk as we do. We are teachers anywhere. convinced that these Great Books contain a live wisdom necessary for thinking out our current lives, for living awarely. Those who read these books – or study texts of b. What we teach: symbols or scores of notes or canvases of paint – in our way often experience the But this way of dealing directly and immediately with texts works most naturally for disciplined magic of these revivals. the so-called Great Books, well over a hundred of which we read with our students through their four years. Some colleagues are embarrassed by that appellation; it sounds too pat. But in I think it is hard to get away from the Great Books designation for the simple reason that “greatness” has real significance for us. It is the criterion by which we have chosen our hundred-plus works – based in part on these millennia-old lists. truth, Great Books lists have been labored over for millennia. Ours represents a kind of Here are some of these criteria: Greatness shows up as inexhaustibility. Some of us Western consensus of the ages. In Santa Fe’s Graduate Institute there is a Master’s have read and reread our books for ourselves or in preparation for class over scores of degree program in which the Eastern Classics are studied, just as they ought to be – years; there is always more to discover. A bored tutor is rare; a bored student is, more with serious language learning. With our undergraduates, however, we stay in our often than not, just prey to one of the endemic dis-eases of late adolescence, among West: “One thing at a time” and “Know thyself” are the guiding principles, especially which is complex sloth. the latter; for knowing ourselves, how we came by the terms we live with, seems to be the first condition for a knowledgeable appreciation of other traditions. This point of view, that to know ourselves we need to know our tradition, is, I Second, these works are pretty self-sufficient. Writers of stature strive to be as context-independent as they can be. They tell you what you need to know to understand them. Good editions with pertinent notes will do the rest. hasten to say, different from “historicism,” the notion that we are the products of Third, and most telling, these books are original in two senses. They are often the impersonal historical forces, the blindly determinist effects of a dead past. We want earliest version of something new that will sweep the world, when it was still close to its nothing to do with what is dead and bygone. When we speak of our “tradition” we mean roots in common experience and accessible to lay people. And they are original in the individual works by thinking authors that have, to be sure, shaped contemporary life in sense of being characteristic, of bearing the stamp of their author’s personality – not only ways of which we are largely unconscious. But we can bring these works back to life – their personal crotchets and idiosyncrasies, but their peculiar ways of reaching depths. �23 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } Fourth, these works are infinitely artful, bold and subtle, beautiful by design or ugly on purpose. These authors are masters of the liberal arts that are a large part of our Program. F YODOR D OSTOEVSKY Fifth and finally for present purposes, the works, though their message may sometimes be dismal and dark, are not themselves dreary or depressing but grand and redemptive. We have a sense that this four-year gift of semi-adult freedom that parents make to their children should not be spent on mediocre documents of societal problems and their academic solutions – the world will soon teach all that – but on the deepest, most exhilarating exemplars of human achievement. The principle here is: First have acquaintance with the best, then face the worst. In this adherence to Great Books we are somewhat out of sync with the universities – less so as the pendulum of opinion swings back. In the last part of the last century there arose a movement sometimes called the Canon wars. “Canon” with one n, nota bene; it is a Greek word meaning a rule or standard and now used most generally to refer to Great Books lists. An attack on the Canon was mounted for these reasons: that no work is to be privileged as great; all writings are essentially mere documents composed to confirm an elite in its dominance, be it one gender, one class, one continent. Moreover these screeds really have no individual author, being the product of their time, of history. Those of us who followed this debate and had actually studied some of the canonical works were amazed. First of all, they seem to be highly individual products; secondly, they seem to be far more radical in their attacks on each other and their society than �{ A COLLEGE UNIQUE AND UNIVERSAL } 24 25 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } these contemporary critics. But above all, our way of reading is naturally expressed in First, it takes real mastery of facts and theories to teach these disciplines, and the the question: What does the author intend? And I, for one, would not know how to teacher has naturally to assume the part of an authority. We could not be the perpetu- address an authorless book, for how could I penetrate its words except on the assump- al amateurs we need to be to teach in the whole Program nor could our classes be con- tion that they were written for me by a being I was like, in kind if not in degree? sistently carried on by students if we taught academic disciplines. We could not fulfill St. John’s was not much touched by these battles; we and our students were simply our ideal of being exemplary learners rather than authoritative teachers. too much engaged in actual study, too much captivated by this miraculous inheri- Second, the academic disciplines are not elementary in the sense we require (most tance. One might say that we conceded the elitism of the tradition and practiced the of these fields, about one hundred thirty of them, were, incidentally, inventoried egalitarianism of its readers. But we did think harder about our commitments. by Francis Bacon as early as 1620, in his “Catalogue of Natural and Experimental In particular, we needed to be clear about the feature, or non-feature, of the Histories”, for example: “History of Venus, as a species of Touch”, that is, the physi- Program that both academic and lay visitors notice with surprise: the absence of any ology of sex). By “elementary” in this context I mean having the property of elements disciplinary fields – no history, sociology, anthropology, literary theory, history of that are fairly natural beginnings, as language learning usually begins with the parts philosophy, etc. Our students might incidentally gather some information on these of speech, their syntax and vocabulary, the study of music begins with the mathematical fields (in the case of history of philosophy, of science, and of mathematics more than construction of the diatonic scale by compounding interval ratios, and mathematics almost any other group of American undergraduates). begins with definitions and axioms. Introductions to the field disciplines are usually But generally we ask them to read individual books as unassigned to any discipline brief outlines of a huge body of research results whose shape depends very much on and to practice on them the basic skills of learning. Our reasons for circumventing the presenter’s theories. It is hard to undertake such studies together in a way natural academic fields are less theoretical than practical and pedagogical. (Our students do, and accessible to all. Euclid’s Elements, on the other hand, begins with the sentence: in any case, go on to disciplinary studies in graduate school. And though they go there “A point is that which has no parts.” It is our model. Here our students start their four nearly completely unacquainted with the “isms,” concepts, methods, that their col- years of mathematics. You can’t begin more minimally or more discussably: What – in leagues from other institutions have been trained in, they seem to find their footing the world or out – is an object that has no part? pretty quickly – and sometimes to stand out for the freshness of their approach.) Here are some of these reasons. �{ A COLLEGE UNIQUE AND UNIVERSAL 4. } 26 27 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } H o w d o w e c h o o s e a n d e va l u a t e trained as a cartographer specializing in Chinese maps, who captivated us by showing our tutors? on the blackboard how to draw large meaning from a little Chinese character, and who told us that he was preoccupied with the question whether Confucius’ writing was I have never visited an institution whose life depended so much on a faculty well fitted to its curriculum as St. John’s. Nothing is more important to our internal well-being than our choice and assimilation of tutors. applicable to American life. And he seemed to have far more in store than on display. Our hope is that once appointed a tutor will stay with us. We do what we can – never enough – to help new tutors. In particular, beginning tutors’ seminar partners It has always seemed remarkable to me that we – a school that prides itself on are chosen from more experienced colleagues to serve as their helper, critiquer-in- putting students’ learning first – should have as our first criterion for permanent chief and advocate. But there are many other kinds of help, as new tutors engage in the appointment not teaching but distinction of mind defined as excellence of intellect arduous task of working their way into the Program: phone calls requesting help to and imagination. Nor is teaching second, but rather competence in the Program and tutors who know the material, the regular weekly meetings, led by a more knowledge- increasing understanding of the questions raised by its books. For us these are not able tutor, in which anything that pertains to a particular class is discussed, simply formalisms but vivid conceptions against which tutors are appraised. Compe- meetings with the dean, and above all, if there is time, sitting in on experienced tence is not so hard to gauge, nor is good teaching in our spirit, the third criterion that colleagues’ classes. we look to. The first demand, however, though crucial and not vague, is harder to But just because we want tutors to stay, the review process, conducted by the dean apply: It describes a tutor who is able to open up large vistas in a small piece of text, and the Instruction Committee, is severe. Letters are written for each appointment up who can see the whole through its parts and illuminate a detail by the entirety, who to tenure which are more specifically critical the greater our hopes for the tutor are. I can put two and two together and on occasion get, gloriously and rightly, five. We recall all too well, on the other hand, what contortions of ominous vacuousness I had think of good teaching as the natural fallout of these and similar abilities. to engage in as dean to warn people – as tactfully as possible – that they fell short of the Thus this order of desirables fits our notion of the tutor as learner-in-chief, and as teaching more by example than by a technique. I think that if you are full of focused first criterion (distinction of mind). For while all the other standards could be met by willingness and trying, there isn’t much to be done about natural endowments. enthusiasm (a lovely Greek word, meaning “having the god within”) you’ll be with us all Two criteria for tenure prevalent through the whole academic world that we don’t your life. To give an example: I recall the appointment interview of a present colleague employ are publishing and classroom “performance.” Some of us write books, but �{ A COLLEGE UNIQUE AND UNIVERSAL } 28 more because we can’t help it than because our careers require it. (In fact, no one at St. John’s has a “career” since there are no academic ranks, and becoming dean is more an act of penitential love than a career move; besides, when our term is up we happily go back into the teaching community that has been our care.) Academic publishing depends largely on specialized disciplinary research, and tutors learning the Program don’t have much time for it. You will not hear talk of “my own work” among tutors. We do each have our special pursuit, but it is no more our own than a great book is a private possession. As for teaching as a performance, it doesn’t fit us: Neither brilliant lecturers nor disciple-making guruship fit our way. What’s a tutor’s life like? Jacob Klein, a former dean and one of our grand old men, used to outline with a gesture of his hand a wave with many crests, a roller-coaster track. It’s an alternation of exhilaration and despair, as classes go well or ill, as we ourselves feel a sense of having gotten something or being confounded. That teacher’s wave train is amplified by our aforementioned sense of responsibility without the power to compel by grades, by badgering, or by lectures. A tutor’s life is without question arduous; by spring when formal obligations mount up (all our classes last the whole year) some of my colleagues look like the walking dead. Two nights a week are given to evening seminars, Friday night lecture imposes a sort of obligation to be a model of attendance for students. Family life suffers some; spouses bear the brunt. Besides paper conferences, advising, committee obligations, there is the fact that, since we are usually teaching outside of our original training, we need a W.E.B. DU B OIS �{ A COLLEGE UNIQUE AND UNIVERSAL } 30 lot of time for adequate preparation. Everything is always new or just begun – a boon insofar as we don’t often get jaded, a trouble insofar as we often get worn out. 31 { 5. T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } H ow d o w e s e l e c t a n d m o n i t o r our students? What is their life lik e? It’s not that we work harder than anyone else in the professions or in business. It’s that to perform our mission well we are supposed to think things out, ruminate, What kinds of students do we want? Since in recent years our increasing meditate, talk at leisure. We and our students know that the very word “school” is applications actually allow us to be, as they say, “selective” – a badge of prestige – we derived from the Greek word for leisure, scholé, and that’s just what this school have an important decision to work out, as we always do, by consultation and discus- doesn’t have enough of, especially for newer and younger tutors. I recall that when sion. Our policy has been, within financial and timing constraints, to approve applica- years ago we were invited by our neighbor, the Naval Academy, to show some of their tions as they roll in, applying certain minimal criteria: Does this student read with fair faculty, military and civilian, how we lead seminars, a brief discussion arose: Which of facility, write with some literacy and possess a minimum of mathematical training – in our two schools is more like permissive Athens, which more like martial Sparta? The sum, can the student be expected to cope with the Program? For the rest, we were as wonderful conclusion was that in point of faculty discipline and student requirements close to having a self-selected student body as a college can be. We took wild chances we were taut Sparta and the Academy was liberal Athens – except for one aspect: The on a wild or rebellious or eccentric kid and sometimes lucked out and often lost. officers thought that the pressure of a tight pace was good for developing quick At this point I’ll speak for myself, well knowing that my colleagues on the other decision-making in future officers, while we were sure that continual busyness was side have arguments both principled and practical. I think that “selectivity,” far from bad for thoughtfulness in future citizens. The intellect continually in harness loses its being a school’s mark of excellence, is a sign of curricular and pedagogic failure. A spontaneous leaps, and the imagination continually pressed for time contracts its good undergraduate educational plan should be inclusive in design and well enough embracing visions. taught to bring together future fellow citizens of all sorts of abilities. Wanting to be a I should add that there are now on both campuses numerous tutor study groups, member of that community of learning should be the main criterion of admission. funded and unfunded, that broaden our learning while drawing us together, animat- Desire trumps brilliance any time when it comes to learning. At St. John’s, tutors must ing both campuses all year long. Although they occupy time, they are nonetheless felt have some distinction of mind to be appointed; students should need none to be as a recreation. admitted. They may come undistinguished but they don’t leave that way. Do we look for a representative student population? I think most of us know from �{ A COLLEGE UNIQUE AND UNIVERSAL } 32 33 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } years of teaching that the distinctiveness of individuals being themselves is the ulti- an hour take turns appraising their work; then the students take their turn to mate diversity. Nonetheless, insofar as some of us have a sneaking conviction that this respond. Don rags should be candid and precise but not hurtful, though there is is the curriculum for all human beings who want to understand the roots of their sometimes some weeping for the sins of the term or from sheer nervousness. Great modernity and for Americans in particular, we want very much to be teaching students pleasure is taken in praising a student precisely, and great pains are taken to give of every describable kind. clear, accurate, concise reports, and helpful advice. The don rag is not the place for Our monitoring and evaluation of students has won public commendation, crypto-grading or psychologizing, though of course that happens. A written report of although it uses few of the conventional tools, such as essay or short-answer exams, tutors’ comments and the don rag committee’s recommendation for the student’s quizzes, graded papers, frequent hands-up in class, absence records. To be sure, we future goes to the dean. too have an absence policy and a fairly fierce one, since there is no making up a lost The “enabling” procedure occurs at the end of the sophomore year. All the students’ conversation and since students’ non-presence is a dereliction of duty not only toward records are reviewed individually in a meeting of all the tutors who have taught them. themselves but also toward their classmates. When there is memory work to be done, Comments are made in the hearing of the dean and the Instruction Committee, who especially in language, tutors do give diagnostic quizzes. But we have no official exam decide whether each student is able to continue. The chief factor in the decision is our period. “Hitting the books” just before examinations is futile here, papers are never judgment that the candidate is likely to continue to learn and to help others in their graded but critiqued, and hardly any Johnny is even capable of the short answer to a learning. Less than five percent are asked to leave and several of those return on appeal. good question; these machine-graded tests are notoriously designed to be unforgiving Also, sometime earlier every student must have passed a test in the simple algebraic of reflection. operations necessary to the mathematics and physics of the last two and a half years. Since we are with our classes all year long and since they are small and since class For the first three years students are orally examined by their seminar leaders on participation is demanded, we get to know our students well. Twice a year we report their reading in fall and on their annual essay in spring; at their best these are lively on their performance and their progress in the “don rag” (a whimsical term come down conversations. But the oral of orals is the culmination of each student’s account- to us out of our hoary past from our founders’ experience at an English university; the giving; it is the public examination all seniors undergo on their senior essay. It takes “dons,” that is, masters, “rag,” that is, torment, the students). All the students meet, place in full academic regalia and consists of a searching, hour-long conversation on one at a time, with all their current tutors together, who in the course of a quarter of the essay between the student and three tutors. Friends and sometimes family are �35 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } present, and at the end they congregate around the now-candidate for the degree of Bachelor of Arts for congratulations. Just before graduation all the seniors’ records are reviewed by the faculty, and seniors found sufficient are recommended to the Board for the degree. We are a talking college, and these oral examinations fit us well, but there is also plenty of paper-writing and these papers, though not letter-graded, are evaluated. This is a well-monitored student body. Everyone knows who works hard and who goofs off, who’s deeply serious and who’s a smart-aleck. Certainly the students know it; what they don’t always know is that we know it too. What are our students’ lives like? The Program is very demanding. Moreover we A RISTOTLE hope that the curriculum will expand and meld into extracurricular activity, that common study and casual conversation will continue classroom discussion – and the converse. The scores of activities that enliven the campuses, from Santa Fe’s Search and Rescue team to Annapolis sailing and rowing crews, from fencing to photography, from the art studio to the gymnasium, all these teams and clubs stand more or less under the aegis of the Program. Our directors of athletics and student activities have known how to make our varied sports and outdoor activities support and express our learning; Mens sana in corpore sano, say the Romans, “A sound mind in a sound body”, and in this school, at least, the body works out so that the mind may be better exercised. Well, at least in part – also for friendship and fun and for something else: In a community of learning that discourages competition in the classroom, athletics offers an outlet for energetic but regulated rivalry. �{ A COLLEGE UNIQUE AND UNIVERSAL } 36 37 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } All over the campuses, in the coffee shops and unused classrooms, you will see Seminars, when all the classes are mingled for seminars selected and led by students. students preparing for class together, sometimes in twosomes (they have the taste, The same committee also mounts forums on issues of student life, recently a series – lost in maturity, for dual-purpose togetherness, such as studying their electricity and remarkable for its searching seriousness, as it seemed to me – on the Student magnetism manual while experiencing similar phenomena in a less formal mode), Handbook’s requirements for conduct conducive to a community of learning. often in larger groups, or in lively conversation. This devotion sometimes, wonderfully, assumes the aspect of the higher kookiness: Last year two young gentleman in Annapolis invited me to tea (bags in mugs) to show me their beautiful new dormitory. They told me that they had continued a recent tradition of reading Homer’s whole Iliad in one day; they decided that such a work must not be interrupted, so that when 6. What are the relations between tutors and students? answering calls of nature they went together – one reciting, one not. Students are in seminar Monday and Thursday night; they are supposed to be at Our tutors’ way of teaching and our students’ way of learning naturally lecture on Friday night. They have six tutorials and two or three laboratories a week make for a strong bond between them. One might say that it is too close to be intimate. during the day. Each class demands long and often challenging preparation. It would Put another way: Our common work is too serious for too personal an involvement. be doable, except that too many students work at jobs more hours than are officially The fierce intellectuality and the common commitment to truth – as a goal, not a permitted, in order to make money. When I was dean, students complaining of loss of possession – help to ensure this closeness-with-proper-distance. (There are, it bears zest for their studies and mild depression were often simply overworked – analogously repeating, very few teaching faculties in this country today who will own up to truth as to new tutors. That being said, by and large our students can be counted on to share an aim of education. Our tutors do – at least as a pedagogical practice; of course some our love for the work we do together. Only let, say, an unsympathetic visitor question of my colleagues are deep-dyed skeptics, but for them too their conviction is a their occupation and the wagons circle. philosophy – a way of loving wisdom.) Some students are, nonetheless, insatiable: Throughout the year they form study The faculty has resolved that intimacies between tutors and students are wrong. groups, often with tutors, and mount “guerrilla seminars” on non-Program books. This is, to be sure, what the law and professionalism require. But for us it is a conse- Twice a year the Student Committee on Instruction organizes the All-College quence of our “tutorial” – literally, our “guardian” mode. We see ourselves as acting �{ A COLLEGE UNIQUE AND UNIVERSAL } 38 within an old tradition first set out in a Platonic dialogue, the Symposium, where a young worshiper of Socrates reports that his offer of sexual favors was quietly and firmly rejected in favor of a finer possibility. Although in seminar discussions we are expected to assume no seniority but to support our claims just like the students, we do, after all, evaluate them, and they are in that sense not our equals; our classroom equality involves a certain degree of benevolent hypocrisy. These are not the conditions of bona fide friendships. Those arise when in that sweet moment on commencement day, we, who have addressed them as Mr. or Ms. for four years, call our new-minted alumni by their first name for the first time. Then often a lifelong friendship is started. Yet we often have the devil of a ridiculous time trying to get graduates to break through their decorous distance and to be casual toward us: This faculty gets a touching lot of respect. But of course as we grow older together we get closer in age, and so we grow more intimate as well. Mutual respect is the norm, and, in addition, though we don’t generally speak of “my student,” we do often grow closer to certain people who seek us out or who attract our fond interest. An example going way back to 1958 comes to mind. I was a freshman tutor then living in a room in one of the few seventeenth-century houses in Annapolis. Near midnight the phone rang and the agitated voice of one of my freshmen came through: “Oh, Miss Brann, I need help with Eros!” I was young enough then to need it myself, but I understood his particular requirements and got him started on his annual essay about the dialogue mentioned above. He’s a lawyer now, deeply concerned with the service aspect of his profession, and we talk pretty regularly. M ICHEL DE M ONTAIGNE �{ A COLLEGE UNIQUE AND UNIVERSAL } 40 41 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } There are a few students – sad exceptions – who don’t establish special relationships Then there are the inherent limitations of the Program, the obverses of its with a tutor they particularly trust; opportunity is surely not lacking since each student strengths, which have to be acknowledged. The Program is a small island in the sea of has about twenty year-long tutors over four years, and it is part of our regular day to be our ignorance; to list all the worthwhile knowables our students don’t learn would be available to all students – not just the ones we happen to have in class – for help, tantamount to producing almost all the catalogues of all the libraries in the world. advice, or just conversation, beyond paper conferences and other required “contacts” Most things to be known are not known by us, and our students leave us vastly ignorant. (horrible word). You will see tutors and students deep in conversation in the dining Moreover, most tutors know less about any one subject than any particular professor room – we have a “take-a-tutor-to-lunch” plan – or in restaurants off-campus. It’s how at a university (where the universe of learning is indeed supposed to be collected), whose we learn of the interests, particularly the curious kinds of connoisseurship our stu- knowledge, in turn, covers only a tiny territory in the vast field of some specialty. The dents pursue. How many fantasy books have I read because a student ingeniously Program is a highly restricted plan of study that provides us with elemental skills of proved to me that they were works of liberal art? learning and exemplary cases of knowledge, no more. Even so, it is largely beyond our capacities. Our books demand that we be linguis- 7. tically acute, mathematically quick, and philosophically deep every day. Of course we aren’t up to it, although we help each other as best we can – tutors students and often students tutors. We give and take help with the solution of technical problems, with What’s wrong with us? the construing of sentences, with the interpretation of a line of poetry. Often we need to compromise, to read too quickly, to leave difficulties unresolved, Well, almost everything that’s right. So distinctive a community will pay to let ourselves and our students get away with less than satisfactory work – especially the the penalty for being itself. Visitors do sometimes speak of us as an educational utopia students, who are after all, never allowed to play only to their own particular strengths. – but recall that “utopia” is Greek for “no-place.” We have to remain plausible to I recall vividly an example from the days of my deanship. A fine, well-respected student ourselves and to others, and so an occasional inventory of flaws is in order. simply could not achieve the satisfactory grades we require – only in the senior year – for I have already mentioned that we are perpetually time-starved with deleterious consequences to tutors and students. graduation. The failing class was our demanding senior laboratory, and her tutor came to see me. “Can’t you do something for her?” I asked. He said, “Do you want me to �{ A COLLEGE UNIQUE AND UNIVERSAL } 42 prostitute myself?” “Yes, please,” I said, and he did, and he was right to do it. There are darker things. Life here is so intense that it sometimes just falls apart. 43 { 8. T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } What kind of institution does our Progr am r equir e? Students don’t prepare, classes go badly. There have been times in my life when I coasted and withdrew, as happens to most tutors from time to time. Students have to The Program holds us together intellectually, but our Polity provides the think about money too much; some carry a debt burden that constricts their future. practical condition for a stable communal life. The role it plays within the college is They experience crises of faith and entanglements of love and other pressure-cooker similar to that of the Constitution in this country: We certainly don’t think of it all the effects. Here the possibility of escape to the other campus, Santa Fe or Annapolis, is a time, but all our procedures follow from it. saving grace. Our students come from the world and bring its corruptions along, and The Polity gives us an institutional form, developed over many years of revision, a whatever troubles American society has, we have, though, I think in a mitigated degree. form that contains our educational purpose pretty adequately. Like the Program Consequently our students aren’t exactly angels out of class – more the opposite, itself, the Polity is at once unusual and exemplary. I shall mention only the provisions though there are times when the demons do turn into cherubs. A particular occasion that are particularly concerned with the Program, and these in broad strokes. for such a transformation comes at the end of the year, when the freshmen, who are all We are a truly national college – a rare thing – one college with campuses in required to sing in the freshman chorus, give a concert. In Annapolis it’s in our Great Maryland and New Mexico. We have, with small local variations, the same Program, Hall. We stand in the gallery listening to them sing Palestrina or Mozart and are in and the Polity protects both the expressions of local life and the unity of the Program. heaven with the angels – for the moment. It first defines the responsibilities of the Board of Visitors and Governors (whose This section could be much longer, and actually it all needs to be said, at least among ourselves. Few things are as harmful to a community as terminal idealism. members, besides governing, do actually visit the campuses to familiarize themselves with their life). It then goes on to detail the functions of the faculty. What is vital here is that the two presidents of the campuses are listed as first among faculty members. Our presidents are officially tutors who often teach and always learn within the Program; their responsibilities reach deep into the community. There are two deans chosen from the faculty who – and this is unique as far as I know – sit on the Board ex officio, so the faculty in turn reaches into the Board. The deans chair their part of the �45 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } Instruction Committee, with which the presidents in turn sit ex officio. This committee of faculty members, six each, elected on each campus, has, together with the deans, responsibility for the Program of Instruction, including the formulation of changes and recommendations of tutorial appointments to the respective president. One might say it was a powerful committee, but we avoid such language: It is a respected and responsible committee, and a hard-working one. To complete the picture of integration, it should be said that the associates, the professionals who run our administration, are also faculty members and sometimes teach. The deans, on the other hand, coming from the faculty, are just what they were as tutors: amateurs. In fact we avoid the administrative ambiance as best we can, and each dean ministers to the community in a new way. My own style was to try to be some version of a universal grandmother. The Polity specifies scores of committees, charges, and procedures, but the aim is to have a structure as receptive as possible to the mission of the college, a form totally F LANNERY O’C ONNOR friendly to the function. The Polity represents a pretty successful attempt to overcome the paradoxical fact, already noted, that an “institution of learning” is a contradiction in terms. For nothing is less amenable to institutionalization than a young – or old – soul in development. And yet what is an intellectual paradox is a worldly necessity. In this attempt our governance structure reflects the Program: Both are full of prescriptions designed to protect freedom. Here is the place to add that the students too have a Polity and a student government that disburses the quite considerable funds for student activities. One of this Polity’s chief provisions is a sleep-study rule designed to keep the dorms safe for learning – a �{ A COLLEGE UNIQUE AND UNIVERSAL } 46 47 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } rule not always effective because of a besetting student sin of tolerance for each lar reform when he said: “The birthing mountains heaved and a ridiculous mouse was other’s disruptive habits. There is also the aforementioned Student Committee on born.” We’re better off always first trying to do better what we’re already doing. Instruction which mounts discussions on the Program and whose recommendations the college’s Instruction Committee take very seriously. The Polity includes our Graduate Institute, which I must not fail to mention although this account is mostly concerned with the undergraduate college. The Grad- Most organizations have a double aspect: Some members are responsible for its uate Institute is meant to give people who have missed out on it a belated chance at the existence, others for its essence. At St. John’s, the Board and the presidents labor to kind of liberal learning offered at St. John’s. Its content is derived from the undergrad- keep us in being, while the deans, the Instruction Committee, and the whole faculty uate Program but the ordering is by subject segments lasting a semester: Literature, work to keep us being who we were meant to be. And both parties are well intertwined. Politics and Society, Mathematics and Natural Science, Philosophy and Theology, How does it work in practice, particularly with respect to the two campuses? Santa History. The completion of four of these leads to a Master’s degree in liberal arts. In Fe (founded in 1964) has long since outgrown its beginnings as an Annapolitan colony. Santa Fe, the Graduate Institute also includes a program on the Eastern Classics; stu- One of the delights of visiting either campus, coming from the other, is that in the dents tackle the Great Books of China, India, and Japan. most different of settings – the spacious skies and mountains of the Southwest against What the Graduate Insitute students, who are generally older, might lack in the the confined vistas and coastal waters of Annapolis – the conversations turn about the skills the undergraduates practice through four years and in the continuity of their same universal questions; the coffee shop blackboard bears the same mangled Greek reading, they make up in maturity and appreciativeness. Many tutors love to teach the and the same lovingly drawn geometric diagrams. Of course where there’s two of any- same books to students fully engaged in practical life. Our G.I.’s, as they are called, in thing there will be inventively invidious comparisons: Annapolis is supposed to be turn thrive when they realize that tutors will help but won’t dominate their learning, teutonically earnest, Santa Fe fecklessly laid-back. But our students transfer back and that they are encouraged to reflect on their studies in the light of their experience. forth in droves and are the better for it. It is true that having to gain consent on both campuses for major Program changes (as required by the Polity) and preserving the possibility of student transfer acts as a brake on curricular innovations, college-wide or local. But I’ve sat through enough of those at other colleges to know that the Latin poet Horace might have meant curricu- �{ A COLLEGE UNIQUE AND UNIVERSAL 9. } 48 What are the essential features of our Progr am? 49 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } What matters even more is that under this all-required Program, which comprises about sixteen year-long classes over the four years, all the students in the same year are doing the same thing. Hence they can – and do – talk to each other; a senior might It’s time to come to the Program itself. The first feature that surprises the be seen helping a freshman with an astronomical diagram. Nothing contributes more public is that it is almost entirely prescriptive and what is more, prescriptive not only to making us into a working community than our common curriculum. for the students but also for the teachers: four years of non-elective, non-departmental, non-specialized study for students and tutors alike. But the thought behind all others is that there are elemental skills and crucial books with which every inhabitant of modernity should have experience, and that it is We really mean it. The same Program our students commit themselves to is a faculty’s responsibility to establish these learning matters and to have faith in them. learned and taught by us, though of course more slowly, over many years. After all, if Students tend to have faith in their teachers’ faith: Although our students are given to they can learn all its parts so, presumably, can we. raising questions about everything, there is remarkably little resistance engendered What we lose by this perhaps startlingly unconventional approach is, as so often at the college, also what we gain. We are, as I said, perpetual amateurs and often ourselves by the Program, hard taskmaster though it be. (To be sure, our students chose this curriculum, but what student was ever prevented from complaining by that little fact?) at sea. But these deficiencies also make us better teachers – more sympathetic, fresher We find that the conventional elective system has too many pedagogically dubious (no yellowed lecture notes for us), more alive to students’ difficulties. Intellectual dar- aspects: How can a student make a knowledgeable educational choice before being ing – the willingness to plunge into new material, unabashed candor – the willingness educated? Should students really follow their bent or shouldn’t they rather submit to admit ignorance, and bald directness – the readiness to do without scholarly camou- themselves to expansive diversity? Is it good for them to fill up on gut courses or flage – these are the virtues this approach requires, and we think that such non-author- unplanned alternatives when their preferred course is full? There is much to be said itative teaching does our students good. Since advancing in the Program by teaching it for giving up passing preferences in favor of a liberating experience, and capricious is the main project of the tutor’s life, especially in the first ten years, the dean, who is choice in favor of a coherent study plan. For we make every effort to keep the curricu- responsible for the teaching slate, contravenes the rules of seniority observed at most lum not only excellent in its matter but also coherent in its ordering. institutions. Newer tutors are more apt to get the classes they ask for as they plan their own learning schedule; the more experienced faculty is not favored. The first essential feature of the Program is, then, its prescriptiveness for students and tutors alike. An all-required program must, of practical necessity, be elementary. �{ A COLLEGE UNIQUE AND UNIVERSAL } 50 No high levels of sophistication can be reached by non-specialists. We welcome the necessity because “elementary” need not mean “introductory” or “simple-minded.” To us it rather signifies “deep and radical,” in the sense of delving into the foundations of world and soul and asking questions that go to their roots. For us it is not a shame to be always at the beginning (which the Greeks called arché, the governing source of things) but rather the evidence of our ever-fresh wonder. Still, the Program is, albeit basic, pretty demanding. The second feature is that there are three kinds of classes: seminars, tutorials, and laboratories. In a very old division of liberal learning into Authors and Arts, the seminar corresponds to Authors; the largest part of our Great Books list is assigned for the seminar and discussed there (see p. 52). The Liberal Arts, the arts of language, mathematics, and music, are practiced in the three tutorials (see p. 58). The laboratory updates the medieval liberal arts tradition; the idea that the inquiry into nature requires working on stuff with instruments – “laboratory” literally means “workplace” – is quintessentially modern; here students do bench work (see p. 65). Our catalogue – its title is “Statement of the St. John’s Program” – gives an accurate overview of the study plan. It is not a repository for hopeful projects or defunct courses but a regularly revised, detailed description of the material studied and the approach used in these classes in each year. It is our primary document. The third feature is negative: the absence of textbooks and secondary reading. Of course, tutors and students are free to seek help from whatever quarter they can; my own shelves are full of algebra and calculus and physics textbooks. But textbooks are F RIEDRICH N IETZSCHE �{ A COLLEGE UNIQUE AND UNIVERSAL } 52 53 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } conveniently canned wisdom, and we prefer to use, wherever possible, original works, young than for their elders) that intelligent loquacity is at its peak at night. Some run because they are usually closer to the foundational questions. Where we want to way past the allotted two hours, but experience teaches, as has been said of a hanging, achieve some usable competence quickly we try to employ manuals written by tutors that a predictable cut-off time wonderfully concentrates the mind. for the Program. They range from our Greek manual, which manages to teach intro- Seminar begins with a question posed by one of the seminar leaders, who sit at ductory Greek in a reflective way, to a number of mathematics and physics manuals opposite sides of the oblong table. There are normally two tutors leading the seminar. often containing annotations to accompanying original papers. The point is to prevent students from talking to the teacher, to inhibit a tutor’s domi- To my knowledge we never assign secondary literature (that is, scholarly treatments nating the conversation, and, now and then, to treat students to a collegial difference of a primary work) to students though we may recommend some to them and to each of opinion. Newer tutors are, as I said, paired with more experienced ones, and this is other. Annotations and commentaries explaining difficulties in texts are, I suppose, often their most effective initiation into our ways of teaching. We find that this appar- gratefully resorted to by all tutors as they prepare for class or engage in private study ently profligate arrangement is of the essence; two-leader seminars really go better by – which, of course, often comes to fruition in the community. our criteria: students talking and listening to each other. There are, grossly speaking, two seminar styles. Some tutors, like spirits silently 10. brooding upon the waters, utter hardly a word and make things go merely by their attentive presence. I’ve heard students say: “He’s a wonderful leader, he’s almost What is the St. John’s Seminar , silent.” In the same vein, when I was dean, I listened often to the complaint: “He the center of the progr am? dominates” – evidently a major tutorial transgression for students who take our promises seriously. The seminar is the center in so far as all the liberal learning of the Program Other tutors regard themselves as full-fledged members of the conversation is meant to come to fruition here. A seminar in our sense is just a conversation among who will have their say, though, of course, on the same terms as the students. Both a score or fewer people focused by – and mostly on – a book (or musical score or paint- styles can work. ing) that the members have read (or heard or looked at) beforehand. The regular sem- But the main duty of the leaders is to keep things moving, ask new questions, inars of the Program happen in the evening, on the hypothesis (truer, alas, for the recall members from tangents – though some flights from the texts are too interesting �{ A COLLEGE UNIQUE AND UNIVERSAL } 54 55 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } to rein in quickly. In any case, we are in seminar not only to attempt to understand writers frequently absorb or take issue with each other. Thus they form each other’s what our author for the night is saying but also to decide for ourselves whether there context and relieve us from fabricating introductions. is truth in the book and how it might affect our lives. Living engagement is the soul of One way to put our approach to the Great Books is that we see in them not history the seminar, and often spurts of witty banter or gusts of delighted laughter are but tradition, history being what has passed and is no longer, while tradition – literally testimonial to the spontaneity of the conversation. Playfulness is the style of live as “what has been handed over” to us – is what is ours, now. Many of us are history buffs opposed to dead seriousness. But the bread-and-butter mood of the seminar is candor, privately, but no school was ever less interested in bygones than ours. Nonetheless, straightforwardness, responsiveness, and the conciseness that comes from thinking over the 256 seminars of their four years our students do accumulate some knowledge before speaking – though we don’t want members to inhibit their contributions with that might be called historical. But they remain blessedly ignorant of conventional too much circumspection. classifications: epochs of history, schools of thought, academic subjects. You might, Students who have been in seminar together become memorable to each other. An for example, ask a junior, who has just read it, what the subject of Newton’s alumna of three decades will say: “Oh yes, Ms. X., she always used to...” (Our students Philosophiae Naturalis Principia Mathematica really was and receive a wondering are strictly held to formal address to preserve civility even in the heat of topics that answer: Theology? Philosophy? Mathematics? Mechanics? Dynamics? Astronomy? touch them nearly.) We do, however, try to keep ourselves and our students from Cosmology? assuming hallmark positions, and we would like contributions to be at once impromptu and to the point. That’s the art of seminar participation in a nutshell. Where does the seminar list come from? Such lists were made and kept being made from antiquity on. Our list came largely from the “best books” lists compiled for Students are expected to do their readings, which may vary from thirty to a hundred workmen’s education classes in England and for honors courses in America, begin- thirty pages, well ahead of time and twice if possible. When I see a student in the coffee ning in the late nineteenth century. It is revised for titles and fine-tuned for selections shop late on Monday afternoon with the book open on page ten, I shudder. regularly, but it is essentially stable; the judgment of the reading community diverges Our set seminar list looks chronological. But we are not exemplifying a historical at the edges but unifies about the core. We know very well that every central book has development; each book stands on its own. We read our authors largely in the order in about it a penumbra of fine authors and that these come front and center as they are which they wrote, because that is the null hypothesis which relieves us from imposing discovered by enthusiastic advocates. Nonetheless I never cease to marvel at the pal- subject groupings or schools of thought on our assignments, and because these pable difference between great and good; the latter pass by, the former you live with �57 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } perpetually. Those are the ones we want our students to experience. Associated with the seminar is the preceptorial, a two months’ break in the junior and senior seminars during which the students study a chosen subject, book, or author, along with a tutor. The subject might be a text from within or beyond the Program, be it fiction or philosophy, poetry or music, or a theme, say thermodynam- J ONATHAN S WIFT ics or economics. These breaks are felt to be a kind of festival of the mind for students and tutors alike, for the classes are smaller, the pace of study is more leisurely and the penetration deeper. The annual essay, a much longer piece than is required of students in tutorials, is written for and examined by the seminar leaders. For their writing of the senior essay, which is to be the fruit of their four years and which must be acceptable if they are to graduate, seniors are given a free month. This essay is not supposed to be a product of research but of disciplined, well-expressed reflection on a book or topic. It must be found acceptable by a committee of tutors formed for the purpose. Some essays are mediocre, but many are purely wonderful. The bond between essay-writing senior and essay-advising tutor often lasts a lifetime. �{ A COLLEGE UNIQUE AND UNIVERSAL 11. } 58 What do we do in the tutorials? 59 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } for the Great Books. Thus we have a language, a mathematics and a music tutorial. In the tutorials we ply the liberal arts, the skills of the intellect. The a. The language tutorial lasts through all four years. The language learned in the first tutorials are recitation classes led by one tutor who directs the students’ translations two years is ancient Greek, in the last two French. Students sometimes refer to the and demonstrations and helps them work out difficulties. The arts here practiced are “Greek” or “French” tutorial, but that is not our intention. In fact, except for a few not learned as bare rules or as processes privileged over products; they are not mere students, the language competence isn’t, mildly speaking, very high; our students techniques. They have always had powerful matters of their own in which they are set come to us, after all, largely from average American high schools. These are language out and exemplified, as a Euclidean proposition is at once a lesson in formal thinking tutorials, and though we obviously can’t talk about language without linguistic exam- and a piece of substantial geometry. ples, a very moderate (laboriously acquired) knowledge of the elements will suffice for In fact our tutorials still follow the traditional list of the liberal arts. First come our purpose, which is to reflect on the ways of human speech: What are the “parts of the arts of language, thinking and expression, the trivium or “three-way”: grammar, speech” and how are they connected to thinking, that is, how is grammar related to logic, rhetoric. Then come the arts of formal structures in time and space, the logic? What does it take to say the same thing in two languages, that is, to translate? quadrivium or “four-way”: mathematics starting with the unit and the counting What makes some speech “rhetorical,” that is, especially persuasive? numbers of arithmetic and ascending dimensionally from the partless point to the Why ancient Greek, a dead language? Well, it isn’t dead to us and it’s beautiful; it’s plane and to the geometric solid, proceeding with the application of mathematics to the language in which most of our freshman books are written; it’s philosophically visible nature in physics, particularly in astronomy, and culminating in passion- fundamental and etymologically helpful to the semantics of English. And it’s just suf- inducing sound in music, above all, the music of the spheres. (I am told that in the ficiently different in syntax from English to make comparisons possible and prof- slightly overwrought early days of the Program, the books on natural science in our itable. In my experience Greek is the least complained-of subject in the Program. library were accordingly cataloged under “Music.”) The rules, structures, and Why French? Many years ago there was a grand debate to decide between German formalisms of these arts, together with their exemplary applications, form the and French. As I recall, French won primarily on the grounds of “sensibility”: We matter of the tutorials. And of course, they are also the elements of and models didn’t have enough sheer elegance in the Program. Perhaps it was also that French was �{ A COLLEGE UNIQUE AND UNIVERSAL } 60 61 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } a little easier? In any case, our students read and translate, line by line, fine examples Our four years are elegantly framed by two kinds of geometry, Euclidean and non- of the verbal arts, among them Greek and French plays and a lot of poetry. These serve Euclidean, studied in freshman and senior year respectively. One is the geometry of as exercises in rhetorical analysis, to be sure, but also as enrichments of the imagina- the natural imagination and the other is a geometry that, though logically consistent, tion. There is, besides the study of the elementary grammars of both languages, also is imaginable only on a model within our basic Euclidean world. a sequence in logic. And rhetoric is practiced in a number of short papers, some of One reason mathematics is eminently learnable is that it has few, well-ordered which are critiqued at paper conferences. We are of two minds here: whether, time elements: definitions, axioms, postulates (whereas language begins everywhere at being limited, to indulge our natural pleasure in carrying on a conversation about the once and has complex elements: morphology, syntax, vocabulary). These are the student’s intended content or to do our bounden duty to correct misplaced commas elements that Euclid organized in his classical compendium of that name, the book and skewed syntax while preaching the gospel of meaningful discourse. we study in the freshman year. It is a tiny change in one of his postulates that produces the mind-bogglingly strange new geometry of the senior year, which, for example, has b. The mathematics tutorial, which also runs through all four years, is generally agreed no similar figures (figures, that is, of the same shape but of different size) and which to be the easiest to teach. That’s inherent in the Greek word “mathematics,” which we study from the work of its originator, Lobachevsky. means “what pertains to learning.” Our mathematics, to many a student’s surprise, is In between we study one mathematical revolution after another: the diagrams most satisfyingly learnable, and, to exaggerate only a little, practically teaches itself. used by Ptolemy to “save the phenomena,” that is, to give a rational foundation to the Hence we don’t acknowledge mathematics blocks, and so we don’t have any. Partly, of appearances of an earth-centered cosmos and their conversion by Copernicus to a course, that follows from the fact that our students have chosen to study in this sun-centered universe; the geometric conic sections of Apollonius and their transfor- Program, but it is also because we regard mathematics not as a difficult impersonal mation into the loci generated by algebraic equations (by some accounts the one sin- technique but as a liberal humane art. We wish our students to be easy with the gle conceptual innovation most explanatory of modernity); the advance from the thought that mathematics might be close to the roots of human nature, for example, static mathematics of the ancients to a mathematics of motion as formalized in the cal- our root capacity for recognizing units and counting them and our mysterious ability culus; the expansion of counting numbers to include zero, negatives, rationals, and to picture the inherently invisible such as points without parts, lines without breadth, finally irrationals as conceived by Dedekind; the turn of mind that allows us to think solids without matter. of infinity not as an indefinite progress but as an actual transfinite magnitude; and �{ A COLLEGE UNIQUE AND UNIVERSAL } 62 Einstein’s theory, which overturns our ingrained assurance that this moment here is the same “now” throughout space. We ask our students to study these high moments in actual mathematical detail not simply as evidence of human progress, for at every turning point we ask also what was lost in dropping an earlier restraint. Nor do we study them as history of science, for we value each discovery for its intrinsic beauty (a word now proscribed by estheticians but fully active among mathematicians). We do, however, want students to carry away not a secondhand but a direct knowledge of the intellectual effort that went into the making of their world. c. The music tutorial happens in the sophomore year, just when most of our theology is read in the seminar – not by chance, for music is not only traditionally the apex of the liberal arts but, in Luther’s words, “stands close to theology.” As a liberal art music has learnable elements out of which it is composed, a kind of qualitative mathematics: small number ratios which, when realized by plucking strings of various lengths stretched over a sounding board, produce the consonances and when compounded yield the diatonic scale, the circle of fifths which displays the keys, and so on to the traditional rules of meter, melody and harmony and their inspired breaching by composers. Perhaps in no other liberal art are the elements so immediately also the building blocks of its works. Our students study these and then analyze musical compositions, score in hand. They pay attention, especially in sacred music, to the relation of words to notes; they A DAM S MITH �{ A COLLEGE UNIQUE AND UNIVERSAL } 64 consider the relations of parts to wholes; they learn to hear subtleties and recognize large designs. In sum, they reflect on the phenomenon of incarnate, impassioned 65 { 12. T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } H ow d o e s t h e labor atory fit in? mathematics in general and on the new effects obtained by stylistic innovations in particular. There is, of course, a repertory of superlative examples. The laboratory is, finally, the newcomer to the liberal arts, though there is Truth to tell, not all tutors trust themselves to teach the music tutorial, which for us no question that it belongs with them. For what Francis Bacon calls – surely the seems to be the only class requiring some special talent and prior training. I haven’t allusion is intended – “the inquisition of nature,” meant to force her secrets from her, myself, though I’ve attended it. And we do always seem to find people who have the is a human concern no less than any of the humanities as now understood: the human- daring to do it. centered studies such as, say, literature. As I’ve mentioned, as freshmen all our students sing together. When the alumni In the three-year laboratory, then, we subject the bodies and motions of nature to return for Homecoming some of them again sing together, pieces from their freshmen controlled conditions, from Galileo’s inclined plane to Millikan’s oil drop chamber, chorus manual. Altogether, this school is full of music. and apply instruments of observation and measurement to them. Although original I might add here that a decade or so ago we had a great debate about the role that accounts of discoveries are read and discussed and tutor-written manuals are studied, the visual arts, not traditionally included in the liberal arts, should play within the the main activity is hands-on benchwork, experimentation in the sense of subjecting Program. On the Santa Fe campus a painting segment was tried out; it is gone now. My stuff to procedures. Our laboratory equipment is not generally sophisticated, and we guess is that the visual arts – which are certainly vigorously plied extracurricularly in don’t expect our students to make new discoveries. Instead we replicate numerous our studios and appreciated through exhibitions in our campus art galleries – don’t crucial experiments and get an elementary notion of the kind of ingenuity and quite fit into our Program because the teachable elements are hard to marshal into a patience required to make a science of nature’s ways. I don’t remember in my years of common curriculum, and there is in them nothing quite equivalent to making music learning to be a laboratory tutor ever hearing the “scientific method” even mentioned; together; so music appears to be the art most in accord with a community of learning. it never seemed that anything so jigged as one scientific protocol could apply to all these great moments. Probably our students could nevertheless give a pretty good account of what it means to define a problem, to devise an experimental setup, to subject phenomena to measurement, to record data and gauge their value. �{ A COLLEGE UNIQUE AND UNIVERSAL } 66 The freshman year begins with observational biology, with the tricky problem of classification: Is outside appearance or inside structure more revealing? The labora- 67 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } far the pervasive application to human affairs of these well-defined terms of physics – including, of course, relativity – is legitimate. tory then takes up the problem of measurement and the atomic constitution of matter. Once a week, on Friday night, there is a lecture, the only one in the Program for The sophomore year is given over to music, but the laboratory resumes in the junior which attendance is obligatory – perhaps a rule more honored in the breach than the year with kinematics, mechanics, dynamics, optics, electricity and magnetism up to observance. But the students who generally profit most from the Program are present. Maxwell’s equations. Since by the middle of the year students know some calculus, the After the lecture there is an intense, searching and sometimes interminable question class isn’t so different in content from that of a standard first-year physics course, period. Visiting lecturers, all spent though they may be, find these midnight revels except for the use of seminal papers, and in the hours given to reflecting on the mean- exhilarating. Where have they ever been so well attended to? ing of physical quantities like matter, force, energy, fields – how they show themselves and how they came to be formulated. The senior year returns to biology, now on the sub-individual, that is, molecular level, but first takes up subatomic, that is, quantum, physics. At this point the laboratory becomes fairly demanding, not only mathematically but also conceptually. Recall that none of the students are science majors. 13. W h a t d o w e wa n t f r o m and for our students? Nonetheless, they study some early papers on radiant energy and think about the way nature becomes elusive on the subatomic level: the wave-particle duality (the theory What we expect from our students while they are with us, what it takes to do that radiation and matter are in some respects wave-like and in others particle-like); well, is somewhat different from what in most schools is called “keeping your grades probability (the theory that on a very small scale strict causality fails and the laws of up.” Steady preparation, faithful attendance, timely delivery of well-written papers – nature are statistical); and uncertainty (the theory that the process of observation these virtues are only part of it. We want our students to extend themselves through itself makes the simultaneous measurement of certain quantities in principle impos- the Program, even to the parts that don’t come easily to them, and to be serious sible). With these investigations our students are ready for their world, not only about their whole vocation as students. We want them to think of themselves as because they have some notion how science is developing far beyond our naïvely responsible members of the community of learning: The faults of “having stopped natural understanding of nature, but also because they can judge for themselves how learning” and “not contributing to the class’s learning” as judged by their tutors are �69 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } causes for being “disenabled.” What about morality, that swamp of uncertainty for America’s educational institutions? We are bound to enforce local and federal law on drinking, drugs and sexual conduct. But we are an institution of learning, devoted to the cultivation of the intellect and the imagination, and our first and peculiar care is for the intellectual virtues. There are certain kinds of behavior that we judge to be incompatible with our community of learning, and our Student Handbook states this clearly. In particular, the use of illegal mind-altering substances and the practice of intellectual dishonesty (e.g., plagiarism) are not tolerated when they come to our notice; these we investigate exceedingly carefully and punish quite uncompromisingly. This morality we confidently enforce for the sake of the college’s mission. You can’t work in our spirit if you’re not in your right mind, and you are doing less than nothing if your work is not your own. And though our M ICHAEL FARADAY students come to us from a dangerous world, I think, occasional paroxysms aside, that they lead remarkably good and sober lives. What we would really wish is that all their intoxications and ecstasies were those of the thinking soul. This is what else we want for them: four years of minimally clouded thoughtfulness. For this we have managed to keep our classes remarkably free of a current scourge of higher education: politicization. The Program, whose works are full of religious doctrine and political opinion, requires something higher than tolerance; it requires appreciative openness to all the possibilities of the intellect and the passions. No tutor is entitled to wreck our conversation by introducing a personal ideology, and our students generally have the tact to veer off from politics in the narrow current sense �{ A COLLEGE UNIQUE AND UNIVERSAL } 70 71 { T H E C A M PA I G N FO R ST. J O H N ’ S CO L L E G E } (the sure sign of which is getting hot under the collar; it marks the difference between pose, and that they will themselves be the catalysts of such communities of two or of politics and political philosophy, which remains relatively serene under opposition). many members, for action or for contemplation: companions, families, firms, schools. We want students to feel safe in bringing all their experience to bear on the discussion And indeed our alumni are by preference founders and maintainers of small worlds. of the books, but we hope they will learn to lever them into a large, universal mode. 2. Courage: We expect them to be full of boldness in approaching intellectual and This desideratum for our students is so close to the heart of our life that I will try practical problems, in complementing their liberal learning with expertise, in trans- saying it again: We want to give our students a classroom in which inciting books are muting their four years’ study into life-long learning and reading. And indeed our talked about not as mere literature nor as historical documents, but boldly as they alumni seem to learn and do practically anything, and they are, many of them, invet- meant themselves to be taken: as the Word of God, or the insight of the intellect, or erate readers and seminar-goers. the wisdom of the world. And yet we want these same students to read subtly, not as 3. Decency: The fallout of years of thoughtful reading about good and evil should be believers, disciples, and partisans – that may happen privately – but receptively, with at least plain probity. Not to suppose so is to renounce faith in the moral effect of liber- that most desirable of human dispositions, an open mind, one which hears apprecia- al learning. And in fact, the alumni I know well do seem to have very live consciences. tively and responds judgingly, both at once. 4. Tradition: Our alumni are in a singularly good position to live in appreciative tension with the Western tradition, to know how we came to be what we now are, 14. namely moderns, to preserve our treasures and reform our faults, and to recover for themselves what we always were, human beings. And in fact, many of our alumni live What do we wish for – and see – in our alumni? as it seems to me we ought to live: half in, half out of our times. 5. Self-knowledge: Our alumni are as busy as anyone, but we hope that they will find time for that inner housekeeping, that coolly unclouded self-awareness they “Alumni” is a word of affection – it means “nurslings.” What nourishment learned about in their freshman year under the Delphic injunction “Know thyself!” do we hope St. John’s has given its alumni to strengthen them for what is so curiously And that is the reality: One of the delights of seeing alumni, perhaps after decades of called “real life”? I can think of five headings: disappearance, is the ready candor with which they report on the state of their soul – 1. Community: We hope that they will carry away a picture of a community of pur- for what would concern their former tutors more? �{ A COLLEGE UNIQUE AND UNIVERSAL 15. } 72 Po s t s c r i p t : A s m a l l c o l l e g e and those that lov e it I want to end with the peroration of a speech that Daniel Webster made in behalf of his own school before the Supreme Court, Chief Justice Marshall presiding, a plea which won the case and resulted in making independent colleges like St. John’s safe from at least one danger – public control (Dartmouth College Case, 1818). He concluded, and had the Chief Justice in tears: Sir, you may destroy this little institution... but if you do..., you must extinguish, one after another, all those great lights of science, which, for more than a century have thrown their radiance over the land! It is, sir, as I said, a small college, and yet there are those that love it.... Well, St. John’s has been here even longer than that, weathering other storms that have only made it stronger. And though it too is a small college, it is also a great college, so that those that love it, love it with good reason. �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Promotional Publications Description An account of the resource Brochures and other documents published to promote the college and the Annapolis campus to the public. The collection includes campus walking tour brochures, and fundraising pamphlets. Creator An entity primarily responsible for making the resource St. John's College (Annapolis, Md.) Publisher An entity responsible for making the resource available St. John's College (Annapolis, Md.) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, Md. Identifier An unambiguous reference to the resource within a given context PromotionalPubs Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data pdf Page numeration Number of pages in the original item. 39 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A College Unique and Universal Description An account of the resource A College Unique and Universal publication, written for The Campaign for St. John's College in 2006. Creator An entity primarily responsible for making the resource Brann, Eva T. H. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Santa Fe, N.M. Date A point or period of time associated with an event in the lifecycle of the resource 2006 Rights Information about rights held in and over the resource St. John's College holds the rights to this publication. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource St. John's College (Annapolis, Md.) St. John's College (Santa Fe, N.M.) Education, Humanistic Language A language of the resource English Identifier An unambiguous reference to the resource within a given context College Unique and Universal_2006 Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/0168b8f2026c4ae15a9e57828c803d23.mp3 206669f579ab16c5c463c7e984e1ab6e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data CD Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:00:40 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A commentary on motherhood as presented in Simone de Beauvoir's The second sex Description An account of the resource Audio recording of a lecture given on July 27, 2016 by Jay Smith as part of the Graduate Institute Summer Lecture Series. Creator An entity primarily responsible for making the resource Smith, Joseph B. Jr. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2016-07-27 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Beauvoir, Simone de, 1908-1986. Motherhood Language A language of the resource English Graduate Institute https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/bc18f0556bca4068fd6a02029d4eb3a6.jpg 47f2194a6f8e5464563bfe1aa2eebbfe Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-2384 Title A name given to the resource A Common Room [in McDowell Hall], St. John's College, Annapolis, Maryland Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Description An account of the resource 1 photographic print : b&w McDowell Hall https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/8181547ef4ead9780876e1d33aa8a91c.pdf 6de439a070d30d8e9ea7111345cf2057 PDF Text Text �������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Transcripts—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College at the Santa Fe, NM campus. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 18 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A community of learning... in a land of Cartesians? Description An account of the resource Transcript of a lecture given on August 30, 2002 by David Levine as part of the Dean's Lecture and Concert Series. Creator An entity primarily responsible for making the resource Levine, David Lawrence Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2002-08-30 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource Tocqueville, Alexis de, 1805-1859. Descartes, René, 1596-1650. Plato United States -- Intellectual life Language A language of the resource English Identifier An unambiguous reference to the resource within a given context 24000652 Friday night lecture