https://caspercollege.cvlcollections.org/files/original/38adb872a441001dacd6fd65ef31202e.pdf cdf6fac50808fec2ffc716ab937eba3c PDF Text Text Notes A STOP SIGN AT THE INTERSECTION OF HISTORY AND BIOGRAPHY: ILLUSTRATING MILLS’S IMAGINATION WITH DEPRESSION-ERA PHOTOGRAPHS* ChadM. Hanson Casper College There is disagreement about whether there Stasz adds historical perspective by pointing is or should be a set of universal goals for out how photographs became a “potential undergraduate sociology courses (Guppy and source of embarrassment for a young field Arai 1994; Wagenaar 1991). However, fac­ struggling to prove itself as a ‘rational ulty tend to agree that one of the primary discipline” (Stasz 1979:134). Despite the purposes of these courses is to promote the apparent contrast between the goals of art development of what Mills (1959) called the and science, Becker addresses the perception sociological imagination (Davis 1993; Olzak of difference between sociology and photog­ 1981) . Accordingly, a wide range of meth­ raphy by proposing that “the overlap and ods have been used to help students build a continuity between the aims of social science and art are, in the case of photography, perspective akin to Mills’s “imagination. particularly obvious” (1981:9). He suggests Methods described in the literature on teach­ that “ the two enterprises are confounded in ing sociology include the use of film (Prendergrast 1986; Valdez and Halley ways that cannot be unmixed. However 1999), music (Ahlkvist 1999; Martinez uneasy it may make everyone involved” 1994), fiction (Hendershott and Wright (Becker 1981:9). In this paper, I describe a visual and 1993; Lena and London 1979; Sullivan 1982) , poetry (Miley 1988; Moran 1999), historical technique for introducing students games (Strauss 1986), and museum field to the sociological imagination. The method trips (King 1992). Although there are a wide is based on the use of photographs by range of techniques available to teach Walker Evans, one member of a team of Mills’s perspective, photography has been photographers commissioned by the U.S. largely unexplored as a resource (Barthel Farm Securities Administration to make a record of individual and community life in 1987). Sociologists’ lack of interest in pho­ the aftermath of the 1929 stock market tographs stems, at least in part, from the crash. I describe my use of the photographs tendency to identify photography with art as and offer results from a survey designed to opposed to science. Barthel notes: “Any measure students’ reactions to the images. In reluctance to use this valuable resource must the end, I propose that depression-era pho­ be traced...to sociology’s alliance with the tographs provide students with a visual sciences over the humanities” (1987:21). counterpart to the perspective Mills suggests in The Sociological Imagination (1959). ♦The author wishes to thank Gregory Ormson, Jane Galarowitz, Lynn Hanson, and the anony­ mous reviewers for their thoughtful comments on an earlier version of this paper. Please ad­ dress all correspondence to the author at the Department of Sociology, Casper College, 125 College Drive, Casper, WY 82601; e-mail: chanson@acad. cc. whecn. edu Editor’s note: The reviewers were, in alpha­ betical order, Barbara Carter and Chris Prender­ gast. PHOTOGRAPHY AS AN EDUCATIONAL MEDIUM There is a long-standing, but unstable, rela­ tionship between the fields of sociology and photography (Becker 1974; Stasz 1979; Wagner 1979). Stasz points out that if you “pull a tum-of-the-century volume of the __ c—V/sl 'if\ 0009 Z'Anrib9T5-242^ 235 �American Journal of Sociology off the shelf, blow off the dust, and open it up, you will find something virtually unseen in sociology journals of recent decades—photographs” (1979:121). In documenting the history of visual sociology, Stasz focused on the Jour­ nal, and found that “between 1896 and 1916 thirty-one articles used 244 photographs as illustrations and evidence” (1979:121). To­ day, photographs are as unseen in social science journals as they were in the late 1970s when Stasz was writing on the sub­ ject; the only difference is that the length of time since sociologists distanced themselves from photography has lengthened to more than half a century. Of course, photographs are a less than ideal means for discovering social facts or documenting broad social patterns; nonethe­ less, when those facts and patterns have been determined by other methods, pho­ tographs have the favorable quality of bring­ ing those patterns to life in a visual form. “Photographs scream ‘We are real!’ ‘We live!’ tugging on sentiments and emotion” (Stasz 1979:134). Even though it is the affective and subjective nature of pho­ tographs that makes sociologists unlikely to use them in other areas of their work, it is these characteristics that make visual images an outstanding teaching resource. Not sur­ prisingly, most undergraduate texts are filled with photographs, although pictures are en­ tirely absent from the professional publica­ tions the texts rely upon. In a sample of 45 introductory textbooks published between 1982 and 1994, Hall found 1,357 pho­ tographs dealing with the subject of poverty alone (Hall 2000). At some level, instructors, textbook au­ thors, and publishers all tacitly acknowledge the ability of photographs to convey ideas. As Hraba et al. explain: “Facts and fig­ ures...are often necessary, but show only sociological dimensions separated from the human drama. That drama needs to be in the classroom so that the significance of social forces for peoples’ lives can be better appre­ ciated” (1980:124). Commenting on the spe­ cific advantages that photographs bring to the teaching of sociology, Wagner further notes: Photographs which are used in social science leaching cut two ways. As visual illustration they can assist instructors in making a more powerful presentation of their argument and textual material. As visual stimulation, on the other hand, they can turn a passive student audience into active and critical analysts. (1979:19) It is the ability of photographs to serve as a common point of reference that originally attracted me to photography as an educa­ tional medium, although as Wagner sug­ gests, photographs also hold the potential for generating dialogue among students as visual images are open to a range of interpreta­ tions. MILLS’S “IMAGINATION” AND DEPRESSION-ERA PHOTOGRAPHS In the summer of 2(XX) I decided to make the economic depression of the 1930s, one of the great structural transformations of U.S. history, part of a lower division social prob­ lems course. In this case, I took a cue directly from Mills, who was quick to point out that “In the thirties there was little doubt...there was an economic issue which was also a pack of personal troubles. The values threatened were plain to see...the structural contradictions that threatened them seemed plain...it was a political age” (Mills 1959:11-12). In the second week of my social problems course, students read a brief overview of Mills’s work and the first eight pages of The Sociological Imagination (1959). The objective of this assignment is for students to develop an understanding of what Mills termed the “intersection of his­ tory and biography” (Mills 1959:7); my goal is to help students start seeing the relation­ ship between individual lives and the larger forces of politics and economics. Given Mills’s direct reference to the depression of the 1930s, photographs from the era seemed like a logical way to help students see, in a literal sense, how individual biographies are �ILLUSTRATING MILLS’S IMAGINATION 237 tion’s Web site (U.S. Library of Congress. tied to the forces of history. Fortunately, the social and economic con­ Special Collections 2000). Images on the ditions of the Great Depression are both well sites can be downloaded and a formal repro­ documented. During the 1930s and early duction service is also available. Costs for 1940s, notable photographers like Walker reproductions vary, but there are no copy­ Evans, Dorothea Lange, Ben Shahn, and right fees for U.S.-based educators. The Russell Lee were all commissioned by the federal government commissioned the work; U.S. Farm Security Administration to therefore, the images are public property record the far-reaching effects of the eco­ (see archival sources for additional collec­ nomic downturn. “From 1933 to 1943 pho­ tions of depression-era photographs). tographers were engaged by the Farm Secu­ PRESENTING PHOTOGRAPHS rity Administration (FSA) to photograph all IN CLASS phases of rural America in an effort to help fight the depression and to educate the American public about the problem” 1 began using slides of Evans’s work as part (Norman 1991: 194). In other words: of a pilot project by presenting them to a “Evans.. .and others made it their business to single section of a social problems class in record the poverty and hard times of depres­ the summer of 2000. 1 let my own aesthetic sion America,” and unlike other purely aes­ sense guide my choice of photographs, but I thetic projects, their work was “very much also employed the goal of illustrating Mills’s informed by social science theories” (Becker sociological imagination in selecting images. In all, I chose 26 photographs out of the 61 1974:4). Even though the work of the FSA photog­ appearing in Let Us Now Praise Famous raphers is remarkably consistent with re­ Men (Agee and Evans 1939) to present to spect to quality. Walker Evans is said to students. I started by walking the class through the stand out among noteworthy contemporaries slides one by one, offering my interpretation (Sontag 1973). In The Human Image: Soci­ of each photograph. 1 did not assign any ology and Photography, Horowitz writes: “To sociologists who take pictures...Evans depression-era readings or historical ac­ must rank on the same level as Max Weber, counts of the period prior to the presenta­ Karl Marx, and Emile Durkheim; and for all tion, assuming students could rely at least in I know—somewhat higher” (1976:7). My part on the stock of knowledge they brought use of depression-era photographs began with them to class. During the slide show 1 with a set of images Evans created for the offered a brief history of the 1929 stock volume Let Us Now Praise Famous Men market crash and its consequences, but I (Agee and Evans 1939). I made 35nim slides also encouraged students to add to the dis­ of the photographs. In my experience, noth­ cussion with either historical facts or inter­ ing quite matches the clarity and visual pretations of the photographs. Overall, the slide presentation went impact of a 35mm slide presentation, though today it is possible to project digital images smoothly, although I noticed there were a limited number of students participating in on a large screen with comparable quality. A digital collection of Evans’s work and the discussion. On the whole, I felt that that of several other FSA photographers can students were comfortable enough in class to be accessed online at the United States speak their minds, but clearly only a small Library of Congress’ American Memories group of students contributed to the conver­ Web site (U.S. Library of Congress 1998). sation. In addition, the commentary covered The Library of Congress also hosts a broad a wide range of topics. Some students were Internet-based collection of depression-era forthcoming with comments, but the discus­ photographs at the Farm Security Adminis- sion drifted in and out of relevance to tration/Office of War Information Collec­ Mills’s central ideas. �’ fiOHirf'iiWiafi f vaii antfrW i'' ’ -J -..life - . — ................................ ■- -■ • ■■ ■ ' • ■ ■ ..... - science, as much a way of seeing as it is a cumulative body of knowledge (Hughes 1971). Perkins draws a connection between the processes of thinking and seeing by suggesting that “The looking we do should be thought through, and thoughtful looking is a way to make thinking better” (Perkins 1994:3). Perkins’ most basic advice for creating an environment where students can develop a thoughtful approach to analyzing visual ma­ terial is to allow them adequate time. Even if it means literally holding up a stop sign in class, his best suggestion is to allow students to take the time necessary to honestly inves­ tigate an image. Perkins assumes, and I agree, that “To think better, people need to develop general commitments and strategies toward giving thinking more time” (Perkins 1994:4). For my purpose, giving students time to think meant improving their thought processes and interpretations. Equally im­ portant, having time to think also held the promise of increasing the likelihood that students would contribute their thoughts to a discussion. In the fall of 2000, using Perkins’ work as a model, I decided to do more than merely ask students to look passively at the pictures I presented. We viewed all 26 slides as before, but this time I chose an image for students to focus on specifically, and I also developed a set of questions to guide them through the process of interpretation. I wanted students to have both an organized way to think about the photograph and a place to record their thoughts. I chose one image from among those I pre-selected (See Appendix A), and I created a set of guiding questions (see Appendix B) based on materi­ als developed as part of Project Engage: Exploring Intellectual Access Through Per­ sonal Connection, funded by the Leigh Yawkey Woodson Art Museum (Lang and Fischer 1996). I placed the slide I wanted students to spend extra time interpreting at the end of the presentation. When we reached the slide, I asked students to stop, relax, focus their attention on the image, and write answers to : When we finished, I spoke candidly with students about the educational value of the photographs. I asked if the images and our discussion improved their understanding of Mills. The feedback I received was positive; there was unanimous agreement that the slides helped illustrate Mills’s perspective. Even so, I remained concerned about the small number of students participating and the unfocused nature of the discussion. The following semester 1 prepared to use the slides in two sections of a social prob­ lems course (56 students in one section and 42 in the other). The classes were held in a tiered auditorium well-equipped for slide presentations. Given the overall success of the pilot project, I was confident the images had potential for generating a meaningful discussion of Mills’s ideas. Still, I specu­ lated that the problem of limited participa­ tion would be worse in a large auditorium, and I wanted to make sure that most if not all students took part in the discussion. I began looking for a way to ensure that students would stay engaged in both the interpretation of the slides and the conversa­ tion that followed. I found a strategy in the literature on art education. In the field of art education, David Perkins stands out as a substantial contribu­ tor. As co-director of Project Zero at the Harvard Graduate School of Education, Perkins has consistently been at ±e forefront of efforts to advance the understanding of teaching and learning processes. Perkins’ The Intelligent Eye: Learning to Think by Looking at Art (1994) is most germane to educators looking for ways to make better use of visual imagery in the classroom. The book serves as a guide to both the proce­ dures and rationale for incorporating visual images and critical conversations into courses across the disciplines. The core ideas in Perkins’ work parallel Mills’s (especially insofar as human devel­ opment is a steady concern). Mills (1959) often wrote in terms of developing a “quality of mind;” of that quality, certainly an “intelligent eye” is an integral part (Perkins 1994). Sociology is a paradigmatic �ILLUSTRATING MILLS’S IMAGINATION 239 the set of questions I provided. They took group before the conversation returns to the approximately 10 minutes to make their class as a whole. observations. When it looked like most were STUDENT REACTIONS finished, I issued an open invitation for students to share their views. The results in both sections of the course were lively, I surveyed students immediately after the thoughtful conversations. We discussed the slide presentations and our subsequent con­ private and personal aspects of the depres­ versations. The survey instrument included sion; we talked about the biographies of five questions on the value of using pho­ individual Americans, and how they were tographs to learn about the sociological shaped by the historic changes taking place imagination and one open-ended question in in the 1930s. Then the conversation moved which I asked students to describe the most to the larger consequences of the economic important thing they learned during the exer­ downturn as we talked about the profoundly cise. In all, I collected 162 surveys from public and social nature of the problems students in four sections of social problems during the 2000/2001 academic year. The people faced. When I gave students time to think, a responses to the first five questions on the framework for interpreting, and a place to survey were generally positive (see Table). Students’ responses to the open-ended record their thoughts, they were much more likely to participate in the class discussion. questions were also informative. When Perhaps more important, the subject of the asked to describe the most important thing conversations remained consistent with the they learned during the activity, students goals of the course. From what I gathered responded with comments like: during this exercise, each element seemed 1 learned to what extent peoples’ lives can be critical to increasing the number of partici­ affected by larger social forces like the econ­ pants and improving the quality of the dia­ omy. logue. However, other methods of engaging students in a discussion of visual material Severe economic depression affects everyone have also been tested. For example, Wagner in the family and society, not just the tradi­ has students begin their interpretations in tional worker. small groups before convening the entire Everything that happens to people is not pri­ class. He notes of one such activity: I quickly divided the class into small groups for five to ten minutes worth of discussion, and insisted that everyone in each group be given the chance to say anything he or she wanted to about the photographs. Having made a place in this fashion for the most personal of responses, we were then able to undertake a more collec­ tive discussion of the images and their relation­ ship to the topics we were investigating in the course. (1979:191) Whichever method an instructor finds appro­ priate, the most imporunt elements of an exercise in visual interpretation are: (1) ensuring that students have the time neces­ sary to think rigorously about the images, and (2) allowing students to practice their interpretation either on paper or with a small vate; people are shaped by patterns they don i even see. No matter who you are or what your social standing is, we are all affected by society. It is not always people who change society. At times, society changes people. Although the evaluation of the activity was quite positive, and I was pleased with the learning that students reported to have taken place, one shortcoming of the data is the fact that it was drawn from an attitudinal survey as opposed to a more rigorous performance measure. From the standpoint of student satisfaction, I can say with confidence that depression-era photographs are a desirable �Looking at Photographs of America During the Depression Mean Percent “Agree” or “Strongly Agree” Nof Evaluation ...helped me see the relationship between individuals and society. 4.00 85.80 162 ...helped me understand how large social forces affect individuals. 4.22 90.00 160 ...helped me understand what C. Wright Mills meant by the “intersection of history and biography.” 3.90 72.67 161 ...made it easy for me to imagine how my own life is shaped by social institutions like the family, education, and economics. 4.08 83.85 161 ...allowed me to use the “sociological imagination.” 3.92 77.02 161 Note: Perceptions range from 1 = strongly disagree to 5 = strongly agree. lic affairs, but it is worse that they tend not to talk about public life: Kellogg notes that only “16.4 percent reported discussing poli­ tics” at some point in the past year (2001:A47). Should we expect more? I think Mills would probably say no; our students are ordinary men and women. Their thoughts and habits are “bounded by the private itaffairs in which they live...limited to the close-up scenes of job, family, neighbor­ CONCLUSION hood” (Mills 1959:3). Here at the dawn of a There is evidence to suggest that the socio­ new millennium, students are presented with logical perspective is more necessary to an historic bombardment of issues and obli­ student development today than at any other gations. Teaching sociologists have perhaps point in U.S. history. Commenting on the never faced a greater challenge to promoting Annual Freshman Survey conducted by the the sociological imagination or passing on Higher Education Research Institute at the the legacy of C. Wright Mills. Therefore, University of California, Los Angeles, Alex the time is right to explore creative means to Kellogg reported in the Chronicle of Higher help students develop the capacity to see. Education that “[PJolitical engagement discuss, and eventually solve the “problems among first-year students has reached an of biography, of history and their intersec­ all-time low, even though it typically jumps tions within...society” (Mills 1959:6). From in election years” (2001:A47). He adds: what I have gathered, depression-era pho­ “Only 28 percent of entering college stu­ tographs provide important imagery for stu­ dents reported an interest in ‘keeping up to dents beginning to develop a sociological date with political affairs,’ the lowest level eye. Further research may shed light on the since the survey was established, in 1966” question of whether or not they use that eye (2001 :A47). It is unsettling to know that to see outside the classroom. entering freshmen are not interested in pub­ way to augment a discussion of Mills’s work and thought. However, a more difficult question remains unanswered: did this activ­ ity have the effect of making students more likely to use the sociological perspective on their own, outside the classroom? That is a question that deserves fur±er research, both in the context of this activity and others like �ILLUSTRATING MILLS’S IMAGINATION 241 ology.” Studies in the Anthropology of Visual Communication 1:3-26. . 1981. Exploring Society Photographi­ cally. Chicago, IL: Mary and Leigh Block Gallery, Northwestern University. Davis. Nancy. 1993. “Bringing it All Together: The Sociological Imagination.” Teaching Soci­ ology 23:233-38. Guppy, Neil and Bruce Arai. 1994. “Teaching Sociology: Comparing Undergraduate Curric­ ula in the United States and Canada.” Teaching Sociology 22:217-30. Hall, Elaine. 2000. “Packaging Poverty as an Intersection of Race, Class, and Gender in Introductory Textbooks 1982-1994.” Teaching Sociology 4:299-315. Hendershott, Anne and Sheila Wright. 1993. “Bringing the Sociological Perspective into the Evans, Walker. 1939. Untitled. Let Us Praise Interdisciplinary Classroom Through Litera­ Famous Men, edited by James Agee and ture.” Teaching Sociology 2\:325-3l. Walker Evans. Boston, MA: Houghton Mifflin Horowitz, Irving Louis. 1976. “Pictures at an Company. Exhibition.” Pp. 7-11 in The Human Image: Sociology and Photography, edited by Derral APPENDIX B. GUIDING QUESTIONS Cheatwood and Therold Lindquist. Fredonia, FOR IN-CLASS ACTIVITY NY; State University College of New York. Hraba, Joseph, Edward Powers, William Wood­ 1. What do 1 see in this photograph? man. and Martin Miller. 1980. “Social Change (List everything you can observe in this pho­ Through Photographs and Music: A Qualitative tograph. Do not forget to look for details.) Method for Teaching.” Qualitative Sociology 2. What do I think or feel about this photo­ 2:123-35. graph? Hughes, Everett. 1971. The Sociological Eye. (What would you do if you were “in” the Chicago, IL: Aldine-Atherton. photograph? How would you feel? What Kellogg, Alex P. 2001. “Looking Inward, Fresh­ mood does the picture seem to have? And so men Care Less About Politics and More About on...) Money.” Chronicle of Higher Education 3. Ask yourself some questions about this pho­ 47(20):A47. tograph: King, Edith. 1992. “Using Museums for More What does this photograph say about Ameri­ Effective Teaching of Ethnic Relations.” can society in the 1930s? Teaching Sociology 20:114-20. How does this period differ from the present Lang, Georgia and Stephen Fischer. 1996. period of U.S. history? “ Responding to the Art in Language Arts." What does this image say about the men and Wisconsin English Journal 4:18-20. women who live in 1930s America? Lena, Hugh and Bruce London. 1979. “An Intro­ duction to Sociology Through Fiction Using REFERENCES Kesey’s ‘One Flew Over the Cuckoo’s Nest.’” Teaching Sociology 2:123-32. Agee, James, and Walker Evans. 1939. Let Us Martinez, Theresa. 1994. “Popular Music in the Now Praise Famous Men. Boston, MA: Classroom: Teaching Race, Class and Gender Houghton Mifflin Company. with Popular Culture.” Teaching Sociology Ahlkvist, Jarl. 1999. “Music and Cultural Analy­ 22:260-65. sis in the Classroom:lntroducing Sociology Miley, James. 1988. “By Its Right Name; The Through Heavy Metal." Teaching Sociology Relevance of Poetry for Sociology.” Teaching 27:126-44. Sociology 16:173-76. Barthel, Diane. 1987. “Using Art and Architec­ Mills, C. Wright. 1959. The Sociological Imagi­ tural Slides in Sociology." Teaching Sociology nation. New York; Oxford University Press. 15:21-26. Moran, Timothy Patrick. 1999. “Versify Your Becker, Howard. 1974. “Photography and Soci­ APPENDIX A. �Reading List: Using Poetry to Teach Inequal­ ity." Teaching Sociology 27:110-25. Norman, Wilbert Reuben. 1991. “Photography as a Research Tool.” Visual Anthropology 4:193-216. 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America from the Great Depression to World War II: Blackand-White Photographs from the FSA-OWI 1935-1945. Retrieved August 27, 2001 (http:// memory, loc.gov/ammem/fsahtml/fahome.html). U.S. Library of Congress, Special Collections. 2000. Farm Security Administration/Office of War Information Collection, Prints and Pho­ tographs Division. Retrieved August 27, 2(X)1 (http://WWW. loc. gov/rr/pr int/052_fsa. html). Valdez and Halley. 1999. “Teaching Mexican American Experiences Through Film: Private Issues and Public Problems.” Teaching Sociol­ ogy 27:286-95. Wagenaar, Theodore. 1991. “Goals for the Dis­ cipline?” Teaching Sociology 19:92-95. Wagner, Jon, ed. 1979. Images of Information: Still Photography in the Social Sciences. Bev­ erly Hills, CA: Sage Publications. ONLINE SOURCES FOR ARCHIVED DEPRESSION-ERA PHOTOGRAPHS Metropolitan Museum of Art. 2(XX). Special Ex­ hibition, Walker Evans. Retrieved August 27. 2001 (http://www.metmuseum.org/special/ walkerevans/walkerimages.html). Oakland Museum of California. 1999. Dorothea Lange Collection. Retrieved August 27, 2001 (hltp://www.museumca.org/global/art/collections_ dorothea_lange.html). U.S. Library of Congress. 1998. America from the Great Depression to World War II: Blackand-White Photographs from the FSA-OWI 1935-1945. Retrieved August 27, 2(X)1 (http:// memory, loc. gov/ammem/fsahtml/fahome.html). U.S. Library of Congress, Special Collections. 2000. Farm Security Administration/Office of War Information Collection, Prints and Pho­ tographs Division. Retrieved August 27, 2001 (http://www.loc.gov/rr/print/052_fsa.html). University of Virginia, American Studies Pro­ gram. 2001. Walker Evans Page. Retrieved August 21, 2001 (http://xroads.virginia.edu/ ■■UG97/fsa/welcome.html). Wesleyan University, Davidson Art Center. 2001. Farm Security Administration Pho­ tographs. Retrieved August 21, 2001 (http:// www.wesleyan.edu/dac/coll/surv/phoi/ fsa.html). Chad Hanson is a member of the social science faculty at Casper College. He teaches courses on crimi­ nology and the family in addition to social problems. His research interests are focused on issues in higher education, specifically teaching and learning. He has also published in The Teaching Professor, The National Teaching and Learning Forum, and College Teaching. � 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 Print Journal 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 Stop Sign at the Intersection of History and Biography: Illustrating Mills's Imagination with Depression-Era Photographs Rights Information about rights held in and over the resource <div id="dublin-core-rights" class="element"> <div class="element-text five columns omega"> <div class="element-text five columns omega"> <div class="element-text"> <div class="element-text"> <div class="element-text"> <div class="element-text five columns omega"> <div class="element-text five columns omega"> <div class="element-text five columns omega"> <div class="element-text"><a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a></div> </div> </div> </div> </div> </div> </div> </div> </div> </div> Date Created Date of creation of the resource. 2002-04 Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Chad Hanson Language A language of the resource ENG Is Part Of A related resource in which the described resource is physically or logically included. Chad Hanson Journal Publications, CCA 04.ii.e.2025.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 04.ii.e.2025.01_ChadHansonPapers_03 Format The file format, physical medium, or dimensions of the resource Searchable PDF Publisher An entity responsible for making the resource available <em>Teaching Sociology</em> is published by the American Sociological Association