Colonial Colleges and English Dissenting Academies: A Study in Transatlantic Culture

1972 ◽  
Vol 12 (2) ◽  
pp. 184 ◽  
Author(s):  
David C. Humphrey
Keyword(s):  
Colonial Colleges ◽  
Transatlantic Culture ◽  
Dissenting Academies

Dissent and Education

2018 ◽  
Author(s):  
Mark Burden
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Educational Activity ◽  
Educational Institutions ◽  
Higher Educational Institutions ◽  
Legal Restrictions ◽  
Higher Educational ◽  
Set Up ◽  
The Impact ◽  
Dissenting Academies

Much eighteenth-century Dissenting educational activity was built on an older tradition of Puritan endeavour. In the middle of the seventeenth century, the godly had seen education as an important tool in spreading their ideas but, in the aftermath of the Restoration, had found themselves increasingly excluded from universities and schools. Consequently, Dissenters began to develop their own higher educational institutions (in the shape of Dissenting academies) and also began to set up their own schools. While the enforcement of some of the legal restrictions that made it difficult for Dissenting institutions diminished across the eighteenth century, the restrictions did not disappear entirely. While there has been considerable focus on Dissenting academies and their contribution to debates about doctrinal orthodoxy, the impact of Dissenting schools was also considerable.

The Colonial Colleges in the War for American Independence

1987 ◽  
Vol 27 (3) ◽  
pp. 411
Author(s):  
David C. Humphrey ◽  
John F. Roche
Keyword(s):  
Colonial Colleges

Introduction

2019 ◽  
pp. 1-19
Author(s):  
Hannah Durkin
Keyword(s):  
Black Women ◽  
Women Artists ◽  
White Men ◽  
Women Dancers ◽  
Young Black Women ◽  
The Right ◽  
Transatlantic Culture ◽  
Josephine Baker ◽  
Textual Records

This book explores Josephine Baker and Katherine Dunham’s contributions to the page and screen to shed new light on their intellectual interventions as Black women artists in midcentury transatlantic culture. Cinematic and literary spaces were for Baker and Dunham sites of mediation and marginalization in which they frequently shared authorship with white men. Yet they are also rare visual and textual records of Black women dancers’ midcentury artistry and authorship. On the page, they voiced the challenges of navigating interwar global spaces as young Black women, and their narratives shed vital light on the origins and purpose of their art. On the screen, they claimed the right to stardom while at the same time retaining some artistic autonomy and even shaping their films’ aesthetics.

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