Origin stories are a recurring motif in the history of political thought. Presented as narratives that describe the beginnings of politics and power, these stories are among the most provocative and politically contentious means by which Western society organizes and represents its experience. Indeed, as scripts of citizenship, origin stories seek to manufacture consent to a preconceived - and hierarchical - political vision. Joanne H. Wright's Origin Stories in Political Thought examines Plato's Timaeus, Hobbes's story of the state of nature and the social contract, and early Second Wave feminist stories about the beginnings of patriarchal social relations. Using a historically sensitive, feminist methodology, Wright documents and deconstructs the tradition of telling origin stories in the larger history of political thought. Although individual tales have been assessed in current scholarship, the motif of the origin story itself has, until now, escaped systematic analysis. With meticulous research and convincing conclusions, Origin Stories in Political Thought makes a groundbreaking and valuable contribution to both feminist and political studies.

The Marvel Cinematic ​Universe (MCU) is the most expansive and widely viewed fictional narrative in the history of cinema. In 2009, Disney purchased Marvel Entertainment for $4 billion, including its subsidiary film production company, Marvel Studios. Since then, the MCU—the collection of multimedia Marvel Studios products that share a single fictional storyline—has grown from two feature films to thirty interconnected movies, nine streaming Disney+ series, a half dozen short films, and more than thirty print titles. By 2022, eight of the twenty-five highest grossing films of all time are MCU movies. The MCU is a deeply political universe. Intentionally or not, the MCU sends fans scores of messages about a wide range of subjects related to government, public policy, and society. Some are overt, like the contentious debate about government and accountability at the heart of Captain America: Civil War. More often, however, the politics of the MCU are subtle, like the changing role of women from supporting characters (like Black Widow in Iron Man 2) to leading heroes (like Black Widow in Black Widow). The MCU is not only a product of contemporary politics, but many of its stories seem to be direct responses to the problems of the day. Racial injustice, environmental catastrophe, and political misinformation are not just contemporary social ills, they are also key thematic elements of recent MCU blockbusters. In The Politics of the Marvel Cinematic Universe, more than twenty-five leading scholars examine these complex themes. Part one explores how political issues are depicted in the origin stories; part two examines how the MCU depicts classic political themes like government and power; and part three explores questions of diversity and representation in the MCU. The volume’s various chapters examine a wide range of topics: Black Panther and the “racial contract,” Captain America and the political philosophy of James Madison, Dr. Strange and colonial imperialism, S.H.I.E.L.D. and civil-military relations, Spider-Man and environmentalism, and Captain Marvel and second-wave feminism. The Politics of the Marvel Cinematic Universe is the first book to look expansively at politics in the MCU and ask the question, “What lessons are this entertainment juggernaut teaching audiences about politics, society, power, gender, and inequality?”

From William Dickson's Rip Van Winkle films (1896) to Baz Luhrmann's big-budget production of The Great Gatsby (2013) and beyond, cinematic adaptations of American literature participate in a rich and fascinating history. Unlike previous studies of American literature and film, which emphasize particular authors like Edith Wharton and Nathaniel Hawthorne, particular texts like Moby-Dick, particular literary periods like the American Renaissance, or particular genres like the novel, this volume considers the multiple functions of filmed American literature as a cinematic genre in its own right-one that reflects the specific political and aesthetic priorities of different national and historical cinemas even as it plays a decisive role in defining American literature for a global audience.

The Jamaican writer and cultural theorist Sylvia Wynter is best known for her diverse writings that pull together insights from theories in history, literature, science, and black studies, to explore race, the legacy of colonialism, and representations of humanness. Sylvia Wynter: On Being Human as Praxis is a critical genealogy of Wynter’s work, highlighting her insights on how race, location, and time together inform what it means to be human. The contributors explore Wynter’s stunning reconceptualization of the human in relation to concepts of blackness, modernity, urban space, the Caribbean, science studies, migratory politics, and the interconnectedness of creative and theoretical resistances. The collection includes an extensive conversation between Sylvia Wynter and Katherine McKittrick that delineates Wynter’s engagement with writers such as Frantz Fanon, W. E. B. DuBois, and Aimé Césaire, among others; the interview also reveals the ever-extending range and power of Wynter’s intellectual project, and elucidates her attempts to rehistoricize humanness as praxis.

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If you are searching for ideas to teach social studies in fun and meaningful ways, 50 Ways to Teach Social Studies is a book that provides a plethora of ideas of practical lessons connected to real-world topics that will save the busy teacher time and effort. The activities in this book are housed under themes and include content connections (civics, history, geography, economics), guiding questions, and literacy connections. From community, primary sources, and music to food, visual media, and experiential learning, this book will inspire you to make connections in your own environment to expand the teaching of social studies.

Big History is a new field on a grand scale: it tells the story of the universe over time through a diverse range of disciplines that spans cosmology, physics, chemistry, astronomy, geology, evolutionary biology, anthropology, and archaeology, thereby reconciling traditional human history with environmental geography and natural history. Weaving the myriad threads of evidence-based human knowledge into a master narrative that stretches from the beginning of the universe to the present, the Big History framework helps students make sense of their studies in all disciplines by illuminating the structures that underlie the universe and the connections among them. Teaching Big History is a powerful analytic and pedagogical resource, and serves as a comprehensive guide for teaching Big History, as well for sharing ideas about the subject and planning a curriculum around it. Readers are also given helpful advice about the administrative and organizational challenges of instituting a general education program constructed around Big History. The book includes teaching materials, examples, and detailed sample exercises. This book is also an engaging first-hand account of how a group of professors built an entire Big History general education curriculum for first-year students, demonstrating how this thoughtful integration of disciplines exemplifies liberal education at its best and illustrating how teaching and learning this incredible story can be transformative for professors and students alike.

In Black Feminism Reimagined Jennifer C. Nash reframes black feminism's engagement with intersectionality, often celebrated as its primary intellectual and political contribution to feminist theory. Charting the institutional history and contemporary uses of intersectionality in the academy, Nash outlines how women's studies has both elevated intersectionality to the discipline's primary program-building initiative and cast intersectionality as a threat to feminism's coherence. As intersectionality has become a central feminist preoccupation, Nash argues that black feminism has been marked by a single affect—defensiveness—manifested by efforts to police intersectionality's usages and circulations. Nash contends that only by letting go of this deeply alluring protectionist stance, the desire to make property of knowledge, can black feminists reimagine intellectual production in ways that unleash black feminist theory's visionary world-making possibilities.

Why do we find artificial people fascinating? Drawing from a rich fictional and cinematic tradition, Anatomy of a Robot explores the political and textual implications of our perennial projections of humanity onto figures such as robots, androids, cyborgs, and automata. In an engaging, sophisticated, and accessible presentation, Despina Kakoudaki argues that, in their narrative and cultural deployment, artificial people demarcate what it means to be human. They perform this function by offering us a non-human version of ourselves as a site of investigation. Artificial people teach us that being human, being a person or a self, is a constant process and often a matter of legal, philosophical, and political struggle. By analyzing a wide range of literary texts and films (including episodes from Twilight Zone, the fiction of Philip K. Dick, Kazuo Ishiguro’s novel Never Let Me Go, Metropolis, The Golem, Frankenstein, The Terminator, Iron Man, Blade Runner, and I, Robot), and going back to alchemy and to Aristotle’s Physics and De Anima, she tracks four foundational narrative elements in this centuries-old discourse— the fantasy of the artificial birth, the fantasy of the mechanical body, the tendency to represent artificial people as slaves, and the interpretation of artificiality as an existential trope. What unifies these investigations is the return of all four elements to the question of what constitutes the human. This focused approach to the topic of the artificial, constructed, or mechanical person allows us to reconsider the creation of artificial life. By focusing on their historical provenance and textual versatility, Kakoudaki elucidates artificial people’s main cultural function, which is the political and existential negotiation of what it means to be a person.

Help students see their whole selves in the math they′re learning with culturally responsive teaching. Cultivating Mathematical Hearts: Culturally Responsive Mathematics Teaching in Elementary Classrooms, aims to re-center mathematics as a humanizing endeavor because putting children and their humanity at the heart of mathematics education can result in more engaged, meaningful, and joyful learning. This book introduces a model and a tool for Culturally Responsive Mathematics Teaching, constructed to create a safe, inclusive space where all learners can come together in their own educational journey and develop a love for math that centers their experiences and comes from the heart. Implementing the Culturally Responsive Mathematics Teaching Tool (CRMT2) will help you cultivate and sustain meaningful, rich, and rigorous mathematical learning spaces for all your students–experiences that foster mathematical curiosity and joy. The book walks you through each aspect of the framework and tool, guiding you to consider how your classroom structures, lessons, tasks, and assessments: Honor the existing cultural strengths, experiences, and lived realities of all your students Elicit diverse mathematical thinking and ideas Support equitable access to rigorous mathematical learning and discourse for all students Invite a sense of agency in each student’s learning experience Promote high engagement and excitement while learning mathematics Nurture an understanding that mathematics is a powerful tool for making sense of the world By weaving these strategies into classroom lessons, teachers can humanize mathematics instruction to successfully build a love for math while providing equitable learning opportunities that empower student voice and promote success in mathematics.