White Liberalism: Jordan Peele Reads Harper Lee

Black activists have historically accused white liberals of hampering black Americans’ struggle for racial justice. This begs the question of how the white liberal exists today and whether it still serves as a hindrance in America’s search for racial justice. Jordan Peele’s Get Out, Harper Lee’s To Kill a Mockingbird, and Go Set a Watchman are all fictional works that assist us in answering these questions. A look into the first half of Get Out and To Kill a Mockingbird allows the reader to analyze the different ways white liberalism can exist in society, such as racial colorblindness. In these two works, the troubles with white liberalism can appear implicitly and prevent readers from recognizing its problems. The second half of Get Out and Go Set a Watchman, however, pull back the liberal façade and confront the thin line between white liberalism and white supremacy. This research considers whether the white liberal is still “the Negro’s great stumbling block” and how it manifests in contemporary society by offering a political analysis of three depictions of white liberalism in American popular culture and the critical and popular responses to these cultural artifacts

Ending the Excessive Use of Force at Home and Abroad

In the mid-1980s the American Society of International Law (ASIL) launched an initiative to engage more women and minority members in the Society and international law more generally.\u27 Professor Henry Richardson was there, encouraging all of the new aspirants, including me. He is still doing that, and this essay in his honor is an expression of gratitude, admiration, and affection. It develops themes Hank and I have both pursued for decades: human rights, peace and non-violence, and the promotion of international law and ASIL

Spartan Daily, April 2, 1981

Volume 76, Issue 47https://scholarworks.sjsu.edu/spartandaily/6751/thumbnail.jp

Anthropomorphizing Robots: The Effect of Framing in Human-Robot Collaboration

Anthropomorphic framing of social robots is widely believed to facilitate human-robot interaction. In two subsequent studies, the impact of anthropomorphic framing was examined regarding the subjective perception of a robot and the willingness to donate money for this robot. In both experiments, participants received either an anthropomorphic or a functional description of a humanoid NAO robot prior to a cooperative task. Afterwards the perceived robot’s humanlike perception and the willingness to “save” the robot from malfunctioning were assessed (donation behavior). Surprisingly, the first study revealed a negative effect of anthropomorphic framing on the willingness to donate. This negative effect disappeared if the robot’s functional value for the task fulfillment was additionally made explicit (Study 2). In both studies, no effect of anthropomorphic framing on the humanlike perception of the robot was found. However, the behavioral results support the relevance of a functional awareness in social human-robot interaction

Anthropomorphizing Robots

Anthropomorphic framing of social robots is widely believed to facilitate human-robot interaction. In two subsequent studies, the impact of anthropomorphic framing was examined regarding the subjective perception of a robot and the willingness to donate money for this robot. In both experiments, participants received either an anthropomorphic or a functional description of a humanoid NAO robot prior to a cooperative task. Afterwards the perceived robot’s humanlike perception and the willingness to “save” the robot from malfunctioning were assessed (donation behavior). Surprisingly, the first study revealed a negative effect of anthropomorphic framing on the willingness to donate. This negative effect disappeared if the robot’s functional value for the task fulfillment was additionally made explicit (Study 2). In both studies, no effect of anthropomorphic framing on the humanlike perception of the robot was found. However, the behavioral results support the relevance of a functional awareness in social human-robot interaction.Peer Reviewe

The Ticker, February 29, 2016

The Ticker is the student newspaper of Baruch College. It has been published continuously since 1932, when the Baruch College campus was the School of Business and Civic Administration of the City College of New York

Comic Literature and Graphic Novel Uses in History, Literature, Math, and Science

Graphic novels and comics have a rich history and have long served as a medium for both education and entertainment. Although we live in an increasingly technology-rich era which offers abundant visual stimulation to compete with comics, graphic literature is arguably a more immediate and robust resource than ever before. The following paper highlights specific applications of graphic literature to pedagogical purposes, including implications for the use of comics in teaching history, world languages, English as a new language, science, and mathematics. Across these areas, a wide degree of application exists for teachers, in both K-12 and post-secondary settings. In addition, we draw upon the history of comics itself and the relationship between graphic literature and other popular media to demonstrate how the study of comics is itself a powerful lens through which to study history and sharpen skills for critical inquiry that hold utility across academic disciplines. The potential of graphic literature to be both a vehicle for teaching and learning academic content, as well as a topic that is itself worthy of deliberate study, is an essential theme explored by this paper with an emphasis on concrete examples which may be applied to educational practice

The Mockingbird

Jillian Bailey [Faded]; Taylor Campbell [Move to Jupiter]; Elizabeth Chapman [Sepsis]; Arizona Clawson [13%; November]; Thomas Chase Clayton [Alcohol, Love, and Other Things that Kill You]; Alexandria Craft [Electric Love; Watauga Lake in Autumn]; Brooke Day [Seated and Lovely]; Kelly Dorton [Alternative Quotes]; Nancy Jane Earnest [Home before Dark (Autumn Reflections along I-26)]; Jeremy Fahn [Close Distance; Meaningless Stare]; Seth Grindstaff [Letter to Dreamer]; Kayla Hackney [The Imposter]; Bardley Hartsell [August Chapel]; Zöe Hester [MOASS]; Janice Hornburg [October Shower; Orogeny]; Mark Hutton [Old South]; Emily Johnson [Delicacy]; Rachel Nicole Lawson [Everystudent]; Emily Williams McElroy [Sacrament]; Andrew Miller [A Field and a Fire]; Tess Montana [Pretty Lips]; William Rieppe Moore [Before the Bird Went Weightless]; Katie Murphy [To Love and to Cherish]; Avery Myers [Heron]; Raina Nief [Escaping Consumerism]; Hannah Purdy [October, 1938]; Elizabeth Rees [Reflection]; Amber Rookstool [Off the Blue Ridge Parkway towards Alleghany]; Calvin Ross [Forest Soliloquy; Keeper of the Plains]; Amanda Sawyers [On Funerals and Family Reunions]; Hannah Schean [The Eye of the Night]; Lacy Snapp [Fear of Getting Wet]; Kalliope Strapp [Masculine vs Feminine]; Adam Timbs [Blackberry Picking; Spring’s First Rain]; Katie Watts [Downed Logs; Over Grown]; Alexis Whitaker [Interruption]; Ashlyn York [Manhandling]https://dc.etsu.edu/mockingbird/1044/thumbnail.jp