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University of Texas at Austin partners with online learning initiative

By Abigail Cain

Ransom Center Senior Research Curator of Photography Roy Flukinger and University of Texas at Austin Professor of Philosophy Daniel Bonevac will be teaching an online course this fall on “Ideas of the Twentieth Century.”
Ransom Center Senior Research Curator of Photography Roy Flukinger and University of Texas at Austin Professor of Philosophy Daniel Bonevac will be teaching an online course this fall on “Ideas of the Twentieth Century.”

When University of Texas at Austin Professor of Philosophy Daniel Bonevac and Ransom Center Senior Research Curator of Photography Roy Flukinger taught the course “Ideas of the Twentieth Century” last fall, they had 100 students.

This fall, they will teach over 20,000.

“Ideas of the Twentieth Century” is one of the courses offered by The University of Texas at Austin as part of the UT System’s partnership with edX, a nonprofit online learning initiative. Launched by Harvard University and the Massachusetts Institute of Technology in 2012, edX collaborates with universities across the country to offer massive open online courses (MOOCs).  MOOCs boast unlimited enrollment and are free for all participants.

Of the classes submitted by The University of Texas at Austin for the upcoming school year, four are currently open for registration and will begin September 15. Besides “Ideas of the Twentieth Century,” those interested can also take “Energy 101,” “Age of Globalization,” and “Take Your Medicine: The Impact of Drug Development.”

Bonevac and Flukinger’s course explores the changing mindsets and morals of the past century through the lenses of philosophy, literature, art, and history. Although they have taught this course five times before as one of the University’s Signature Courses for incoming freshmen, the class had to be adapted for an online audience.

“Our time is much more limited in teaching the online course, so each session had to be reduced down to the more basic concepts, trends, and ideas,” Flukinger said. “And, obviously, the other fact that you miss immediately is the interchange of ideas and discussion with your students. The production studio tends to be a much more detached environment than the customary give-and-take of the classroom. But such are always the tradeoffs with any mass media. And, at the same time, I do find it very invigorating to attempt to expand our teaching to a much larger and more diverse global community.”

In the galleries: A page from the first draft of Don DeLillo's "Underworld"

By Abigail Cain

A page from the first draft of Don DeLillo's "Underworld."
A page from the first draft of Don DeLillo's "Underworld."

Don DeLillo once noted in an interview, “The significance of baseball, more than other sports, lies in the very nature of the game—slow and spread out and rambling. It’s a game of history and memory, a kind of living archive.”

DeLillo explored those aspects of the sport in his 1997 novel Underworld. Pictured here is a page from the first draft of that work, drawn from DeLillo’s archive at the Ransom Center. In this passage, he captures the magic of baseball: its ability to unite disparate individuals. The concluding lines in this draft differ from the published version, which reads, “The game doesn’t change the way you sleep or wash your face or chew your food. It changes nothing but your life.”

Widely regarded as one of the greatest pieces of baseball fiction ever written, the prologue of Underworld was originally published as the novella “Pafko at the Wall” in the October 1992 issue of Harper’s Magazine. The text centers on the October 3, 1951 playoff game between the New York Giants and the Brooklyn Dodgers that ended with the “shot heard ’round the world,” Bobby Thomson’s homerun that clinched the National League pennant for the Giants. DeLillo pairs his telling of this historic baseball game with another major event of the day: the U.S. government’s announcement that the Soviet Union had successfully tested an atomic bomb. In an interview, DeLillo noted, “The two events seemed oddly matched, at least to me, two kinds of conflict, local and global rivalries.”

This draft page can be seen in the current exhibition Literature and Sport, on display through August 4. Visitors can also view the notebook containing DeLillo’s notes for the novel and the author’s handwritten transcript of Russ Hodges’s broadcast of the conclusion of the playoff game between the Giants and the Dodgers.

In conjunction with the exhibition, DeLillo will read from his work at a Harry Ransom Lecture on Thursday, July 25, at 7 p.m. in Jessen Auditorium. The event is free and open to the public.

Before the DeLillo event, stop by the Ransom Center’s visitor desk and sign up for eNews between 5 and 6:30 p.m.*  to receive a free copy of Underworld.

Materials from the novel are highlighted in the exhibition Literature and Sport, on view through August 4.

*While supplies last, one book per person.

Now open: “Literature and Sport” and “Contemporary Photographic Practice and the Archive”

By Alicia Dietrich

Two new exhibitions, Literature and Sport and Contemporary Photographic Practice and the Archive open today at the Ransom Center.

"Literature and Sport" opens today at the Ransom Center.
"Literature and Sport" opens today at the Ransom Center.

Sport holds a sacred place in Western culture and literature. Writers as diverse as Ernest Hemingway, Willa Cather, Norman Mailer, Marianne Moore, Don DeLillo, Joyce Carol Oates, and David Foster Wallace have written about sport.

Drawn exclusively from the Ransom Center’s collections, Literature and Sport showcases the literature of sport through fiction, essays, poetry, and plays. Organized by sport, the exhibition highlights some of the finest examples of literary writing about baseball, football, boxing, tennis, cricket, bullfighting, and other sports. From Bernard Malamud’s The Natural to Norman Mailer’s The Fight, great literary works capture the appeal of sport and its ability to transform both the individual and society, all the while demonstrating how writers elevate language to literature.

"Contemporary Photographic Practice in the Archive" runs through August 4 at the Ransom Center.
"Contemporary Photographic Practice in the Archive" runs through August 4 at the Ransom Center.

Contemporary Photographic Practice and the Archive was created in cooperation with the Lakes Were Rivers collective, an Austin-based group of artists working in photography and video. Members of the collective created a body of work influenced in some way by the Ransom Center—its space, its purpose, its collections. Approximately 50 new works are displayed alongside Ransom Center collection materials chosen by the artists, including photographs by Ansel Adams and Man Ray, manuscripts from the E. E. Cummings archive, William Blake’s Songs of Innocence, an embellished Maurice Ravel score, and props from the Robert De Niro collection.

Both exhibitions are on display through August 4 and can be seen in the Ransom Center Galleries on Tuesdays through Fridays from 10 a.m. to 5 p.m., with extended Thursday hours to 7 p.m. On Saturdays and Sundays the galleries are open from noon to 5 p.m. The galleries are closed on Mondays.

Beginning June 18, free docent-led tours are offered on Tuesdays at noon, Thursdays at 6 p.m., Saturdays at 2 p.m., and Sundays at 2 p.m.

Join us for an “All-Star Evening,” the opening celebration for the summer exhibitions Literature and Sport and Contemporary Photographic Practice and the Archive, this Friday from 7 to 9 p.m.  Become a member now to receive complimentary admission and valet parking at this event. If you are not yet a member, tickets are available for $20 at the door (valet parking not included for non-members).

"America's Best Magazine?: Commentary in the 1960s"

By Ady Wetegrove

A case of materials from the Commentary magazine archive is on display in the lobby for the Morris Dickstein lecture. Photo by Alicia Dietrich.
A case of materials from the Commentary magazine archive is on display in the lobby for the Morris Dickstein lecture. Photo by Alicia Dietrich.

In conjunction with tonight’s lecture by author Morris Dickstein, an accompanying display case in the Ransom Center’s lobby features items from the Center’s Commentary magazine archive. Dickstein’s lecture, titled “America’s Best Magazine?: Commentary in the 1960s,” takes place tonight at 7 p.m. in the Prothro Theater. The Commentary magazine archive was donated to the Center in 2011.

Materials on display include a 1961 subscriber survey, a 1986 exchange of letters between Allen Ginsberg and Commentary editor Norman Podhoretz, and the May 1952 issue of the magazine, which contains the first American publication of “Diary of Anne Frank.”

This program is co-sponsored by the Schusterman Center for Jewish Studies at The University of Texas at Austin. The Albert and Ethel Herzstein Charitable Foundation made a generous donation to support this program and the cataloging of the Commentary magazine archive.

The event will be webcast live at 7 p.m. CST.

Morris Dickstein to discuss Commentary magazine

By Emily Neie

Cover of the February 1960 issue of Commentary magazine.
Cover of the February 1960 issue of Commentary magazine.

Author Morris Dickstein presents the lecture “America’s Best Magazine?: Commentary in the 1960s” this Thursday, April 18, at 7 p.m. at the Harry Ransom Center. In 2011, Commentary magazine donated its archive to the Center, and the collection is now open for research.

Founded in November 1945, shortly after World War II, Commentary was established to reconnect assimilated American Jews and Jewish intellectuals with the broader Jewish community and to bring the ideas of young Jewish intellectuals to a wider audience.

Throughout its history, Commentary has published significant articles on historical, political, cultural, and theological issues in addition to fiction and memoirs. The magazine became a major outlet for leading figures to establish their intellectual careers. The archive spans from 1945 to 1995 and consists mainly of editorial correspondence, galleys, other records, and correspondence with a number of writers whose archives reside at the Ransom Center, including Norman Mailer, Bernard Malamud, and Isaac Bashevis Singer.

Commentary underwent a dramatic shift in 1960 under the editorship of Norman Podhoretz, who applied more rigorous critical standards and made greater use of strong-minded New York intellectuals such as Irving Howe, Alfred Kazin, and Mailer. The magazine responded to all of the major controversies of the decade, from the Eichmann trial and the civil rights movement to the Vietnam War and the Columbia student uprising.

According to historian Richard Pells, Professor Emeritus at The University of Texas at Austin, “no other journal of the past half century has been so consistently influential, or so central to the major debates that have transformed the political and intellectual life of the United States.”

Dickstein is Distinguished Professor of English and Theatre at the CUNY Graduate Center. His most recent book, Dancing in the Dark: A Cultural History of the Great Depression, received the Ambassador Book Award in American Studies in 2010.

The event is free, but donations are welcome. Seating is limited. Line forms upon arrival of the first patron, and doors open 30 minutes in advance. The program will be webcast live.

This program is co-sponsored by the Schusterman Center for Jewish Studies at The University of Texas at Austin. The Albert and Ethel Herzstein Charitable Foundation made a generous grant to support this program and the cataloging of the Commentary archive.

Win a signed copy of a T. C. Boyle book

By Edgar Walters

"The Tortilla Curtain" by T. C. Boyle.
"The Tortilla Curtain" by T. C. Boyle.

The University of Texas at Austin’s Michener Center for Writers hosts a reading by novelist and short-story writer T. C. Boyle this Thursday, March 21, at 7:30 p.m. in the University’s Avaya Auditorium (ACES 2.302).

Boyle is the author of more than 23 novels and short story collections and a Distinguished Professor of English at the University of Southern California.

The Ransom Center recently acquired Boyle’s archive, which covers the breadth of his prolific career. In honor of the event, the Ransom Center will give away two signed copies of Boyle’s novel The Tortilla Curtain (1995). Email hrcgiveaway@gmail.com with “Boyle” in the subject line by midnight CST Wednesday to be entered in a drawing for the book. [Update: The winner has been drawn an notified.]

Related content:

“Boxing Up,” an essay by T. C. Boyle about his archive

T. C. Boyle’s recommended books

Win tickets to "Face to Face" exhibition opening

By Kelly Dewitt

Arnold Newman, "Marilyn Monroe and Carl Sandburg" (Detail), 1962. © Arnold Newman/Getty Images.
Arnold Newman, "Marilyn Monroe and Carl Sandburg" (Detail), 1962. © Arnold Newman/Getty Images.

The galleries are being transformed in preparation for the Ransom Center’s new photography exhibition Arnold Newman: Masterclass. We hope you will join us for “Face to Face,” the opening celebration for the exhibition from 7 to 9 p.m. on Friday, February 15.

Sip on refreshments from Austin Wine Merchant and Dripping Springs Vodka, pose in an Arnold Newman-inspired analog photo booth created by the Lomography Gallery Store, enjoy treats at The Cupcake Bar’s dessert station, and view screenings of Arnold Newman interviews and film clips.

Be among the first to explore photographer Arnold Newman’s iconic portraits of celebrities and cultural figures including John F. Kennedy, Salvador Dalí, Ansel Adams, and Pablo Picasso, among others. Newman’s archive resides at the Ransom Center.

Guests will have the opportunity to enter a drawing for a Newman-inspired prize package that includes brunch for two at Fonda San Miguel, a stay at the Heywood Hotel in East Austin, a darkroom class with photographer Anthony Maddaloni, a Lomography camera, a membership to Austin Center for Photography, and more.

Ransom Center members enjoy complimentary admission and valet parking at this event. If you are not yet a member, you may join or order individual $20 tickets at the door. Tickets are also available online until Friday, February 8. Valet parking is not included for non-members.

The Ransom Center is giving away a pair of tickets to “Face to Face.” Email hrcgiveaway@gmail.com with “Arnold Newman” in the subject line by midnight CST tonight to be entered in a drawing for complimentary admission for two. The winner will be notified by email on Monday, February 11.

Special thanks to these sponsors: Anthony Maddaloni Photography, Austin Center for Photography, Austin Wine Merchant, Dripping Springs Vodka, Fonda San Miguel, Heywood Hotel, Lomography Gallery Store, and Thames & Hudson.

Art critic Jed Perl’s "Magicians and Charlatans"

By Emily Neie

Cover of "Magicians and Charlatans: Essays on Art and Culture" by Jed Perl.
Cover of "Magicians and Charlatans: Essays on Art and Culture" by Jed Perl.

The Harry Ransom Center welcomes Jed Perl, art critic for The New Republic, and Peter Kayafas, Director of the Eakins Press Foundation, to discuss their work on Magicians and Charlatans: Essays on Art and Culture and the way that artists, writers, and publishers have responded to the digital age. The discussion takes place Thursday, February 7, at 7 p.m. at the Ransom Center. A book signing will follow.

In Magicians and Charlatans, Perl distinguishes between artists he considers magicians—people who seek to create great art—and charlatans—who are merely seeking fame or profit. Perl does not shy away from making controversial assertions. In his reprinted 2002 essay on Gerhard Richter, he dismisses Richter’s retrospective as “a hymn to deracination, a visual moan.” He laments the commercialization of art, the age of Warholism, and the new “market-driven art world.” Perl offers praise for Meyer Schapiro, Lincoln Kirstein, and the eighteenth-century French painter, Jean-Siméon Chardin.

Perl’s book, published in October by the Eakins Press Foundation, has received praise from The Atlantic, Harper’s Magazine, and The Wall Street Journal. Perl has been an art critic at The New Republic for two decades, and has written for Harper’s, The Atlantic, The New York Times Book Review, among other publications. He is currently working on the first full-length biography of Alexander Calder.

Writer Jim Crace gives writing advice and discusses why T. H. White’s archive at the Ransom Center brought tears to his eyes

By Emily Neie

English writer Jim Crace, currently a visiting professor at The University of Texas at Austin Michener Center for Writers, gives a reading tonight at 7:30 p.m. in the Avaya Auditorium, ACE 2.302. Crace’s archive resides at the Ransom Center, and on a previous visit to Austin he spoke with Ransom Center staff about his interests and work.

In these two videos, Crace reflects on writing advice he took to heart early in his career and how one of his favorite authors, T. H. White, adopted a life of learning to deal with depression. These videos exemplify Crace’s understanding of the emotional value of the physical and how he uses this connection in his writing.

Jim Crace’s Writing Advice

“I found myself writing more directly and more convincingly about my mum through scissors than I would’ve done if I’d written about her emotionally…”

Jim Crace on T. H. White’s Materials at the Ransom Center

“…Once you’ve learned to parse medieval German verbs, you can learn to plow. And once you’ve mastered plowing, you can set your attentions towards knitting. And once you’ve learned to knit, you can discover how to make dough rise. And that was basically his [T. H. White’s] method of dealing with this deep depression he had all of his life…”

Writer Jim Crace discusses creative process in two videos

By Emily Neie

English writer Jim Crace, currently a visiting professor at The University of Texas at Austin Michener Center for Writers, will give a reading this Thursday, December 6, at 7:30 p.m. in the Avaya Auditorium, ACE 2.302. Crace’s archive resides at the Ransom Center, and on a previous visit to Austin he spoke with the Ransom Center about his interests and work.

In these two videos, Crace discusses how painting coastal watercolors sparks his imagination, and shares several original drawings of imaginary places. These videos illuminate the inspiration Crace draws from places he created as a child, both real and fictional.

Jim Crace on Painting

“All of my novels, without exception, I think, are landscape novels… and I think that landscape is almost a character in all of my novels. So these things are important to me.”

Jim Crace’s Childhood Maps and the Narrative of Travel

“I used to love looking at atlases. It seemed to me that implicit in every map I looked at on every page was a narrative of travel, an armchair story that you could imagine yourself going around this coastline or traveling up that river or crossing those mountains.”