By Adam Kuehl, Savannah College of Art and Design, GA, student of Craig Stevens
12
Support Activities
“If you find a turtle on top of the post, it didn't get there by accident.”
William Jefferson Clinton
Regardless of how strong a teacher you are, because of the technological bases of photographic education it is likely that support will be required to effectively teach others. Even for a “one-man band” there is a need for a complicated instrument. There are several parts of the educational process that require support. Whether individuals, administrators, or institutions handle these, they will need to be accomplished in order to provide effective photographic education.
In this chapter we will try to introduce several support systems that enable photographic education. Since this book is about how to teach photography we do not delve deeply into the nuances of management, budgeting, and development of administration and supporting education, but rather take a general approach. In starting this discussion, it must be clear that while, as teachers, we may not wish to deal with administration and the activities outside the classroom, these to a large extent will determine the success and future of our professional involvement in photographic education.
Administration
“The hardest part of being an administrator is the tension between the two parts of the job. The tension is caused by pressure from elsewhere to get the administration right and the desire to be a good teacher. Both sides are unremitting in their demands. Management does not see beyond their requirements and students do not see beyond their requirements.”
Ian R. Smith
Salisbury College, United Kingdom
The administrative functions required to run a successful academic photographic program are many. Since this book deals with teaching, we will not deal in depth with administration; however, it must be said that it is in the best interests of the program to work within the administrative flow rather than to oppose it. While this may seem apparent, too often faculty members make self-serving choices that work against administrative needs and those of the institution. Such self-interest works against the greater good.
Like football, the coach's job is different than any of the roles of individual players. In a similar manner we must look at education as a team concept that requires different activities from different players. Those who have been involved as a single instructor or have taught in a small program where all activities, teaching and administrative, fell to them, realize that the administrative overload often gets in the way of teaching. The administrative role may be required, depending upon the size and the point in growth of the photographic program. With larger organizational structures, programs, or institutions, administration is normally a consideration beyond the classroom assignments. In larger, more diverse academic settings, administrators with no photographic training are often assigned to support these educational programs.
The administration in the educational institution should have as its goal enabling high levels of education. It is not as important that the administrator be from the field of photography as it is that they support the goals of the photography program. It can be argued that the photographic program is better off if administrated by a supporter of photography rather than by a photographer. It is important to realize that when entering an administrative role, while education is still the goal, teaching is no longer the prime activity.
“The very highest is barely known by men.
Then comes that which they know and love.
Then that which is feared.
Then that which is despised.
not be trusted.
When actions are performed
Without unnecessary speech
People say, ‘We did it.’”
Lao Tsu, from the Tao Te Ching
Though many aspire to administrative roles for the money, the prestige, or as a stepping-stone to other opportunities, there are others who shun administrative roles or who accept them reluctantly. The potential for successes from the teacher's standpoint is enhanced when the person in an administrative position responsible for the photographic program is more concerned about the quality of education than the title on their door. It is not as important who gets the credit, in the long run, as it is if a quality job gets done. The only problem with this attitude is that many people believe that the way to the top is by stepping on their colleagues, and that the strategy of being sure that the job gets done and sharing credit reduces the “headline status” for people who are actually doing the job.
“If there is no leadership, it makes education damn difficult! A good chair or program director affords the opportunity for faculty and students to work beyond themselves and outside the educational environment. Learning does not happen in a vacuum.”
Roxanne Frith
Lansing Community College, MI
The concept of teaching and the concept of administering a photographic program are separate. While they deal with the same photographic program, they are not the same job nor do they require the same skills. Similarly, the way colleagues feel about administration depends on the outcomes concerning the individuals. If the job of an administrator is to be sure that a high level of quality education happens, then they will be making decisions that may, or may not, agree with some person's desires. This will change the favorability rating of the administrator, depending upon the outcomes of decisions made. This means that from time to time the administrator's popularity will also ebb and flow. Therefore, administrators tend not to win popularity contests.
“The biggest difference between administration and teaching is that you have to have a greater vision; instead of dealing with what was happening in just that one classroom you need a broader view of the whole school district. But it creates a separation between the students and me. Even though the students were being impacted by what I do, I don't deal with the students, just with teachers and other administrators.”
Mark Murrey
Arlington Intermediate School District, TX
A role that is important for administration is the ability to project to the future and prepare both the institution and the faculty for next steps. Administration should be looking to the future to see the trends that will impact the photographic program and put in place professional development, capital expenditure budgets, equipment lists, faculty needs, etc. Particularly in photographic education, with its rapidly changing technical underpinnings, a view to the future and how it will impact the program is valuable. This becomes a balancing act between the administrative structure, budgets, faculty desires, student desires, and politics. The successful administrator leads the various constituencies of the programs into the future. While they, too, will travel to this future, it is their ability to bring along the various parts of the photographic program that will be the measure of a positive outcome.
“When you are leading a band, it is a good idea to look back occasionally to see if anyone is following.”
Paul Miller
Rochester Institute of Technology
Politics
Politics gets a bad reputation…perhaps it should, but, then again, it is a necessity to get things done. Understanding politics is to be able to accomplish big things. It must be understood that unless you are teaching on the “log” that Socrates suggests, you will be involved with politics. Politics happens whenever an organization of people needs to accomplish cooperative group activities. If there are two people involved in making a decision, then negotiations are required, while with more than two, politics will be involved, with or without negotiations. Politics establish the direction for decisions and is essentially the ability to create two groups to make these decisions.
From this standpoint, politics is a tool used to make decisions. Its goodness or badness is a matter of the outcome of decisions, not the use of the tool. In order to move forward with planning a curriculum, acquiring equipment, etc., it will be required to use the political tool to assure implementation or acquisition.
Therefore, we must create alliances and dependencies that will enable the success of our programs. These include knowledge of the program, its important work in the structure of the institution, its impact on other programs, and its reputation and appearance external to the institution. This requires attention to others beyond the scope of the program itself. While you might not wish to be seen as being political, it is your ability to work with others that allows politics to assist you and your program's future.
You may not enjoy “playing” politics; however, it is important to be aware of the politics around you so that you are not blind-sided by the formation of action groups that will affect you in a negative way.
“After the satisfaction of doing what is right, the greatest is that of having what we do approved.”
Thomas Jefferson
Budget
It is said that money is the root of all evil and the root of the family tree. This is also true within the academic world. The budget is a tool that determines how funds will be spent. We can look at the budget as being similar to our checkbook, where we put money in and spend from what has been deposited. However, budgets are developed and implemented using far more complicated methods within education.
Primarily within the budget there are two primary parts that impact educational programs. These are the operational budget and the capital expenditures budget. Though there may be specialized budgets within project or programs, mainly these two areas are used. The operational budget is used to cover day-to-day activities along with salaries, benefits, supplies, travel, etc. Depending on the system that is used to manage and audit the budget, the number of accounts within the budget and how the funds may be spent from each will have differing rules. The fact that money exists in one account and is unused does not automatically mean that it can be spent for another purpose.
White Cloud; by George DeWolfe, Rochester Institute of Technology, NY, student of Richard Zakia
The capital expenditures budget is used to fund building, remodeling, and large equipment. In the case of equipment, there is normally a minimum amount of cost that requires this account to be used. For most educational institutions, the two budgets, operational and capital, are separate and only rarely will you see transfers from one budget to the other. It is also common within education to have dedicated monies in a foundation or development fund that can be applied to either of these budgets, as defined by the donor, foundation, or grant.
As a teacher you will rarely be involved in developing either of these budgets, particularly on the income side. While you may be asked for input into requirements for the budgets, administrators, even those outside our discipline area, normally will set the budget levels. There will be opportunities, such as development and grants, to be involved in acquiring funds to support your photographic program. However, once funds are placed into either operational or capital budgets, the control of these funds may be severely restricted. For this reason it may be best to acquire restricted-use funds, for which the donor or source has specified use or direction. The same can be said when you make contributions to your alma mater—specify how your money is to be used (student scholarships, faculty salaries, photo equipment, and so on).
Professional Development
Photographic technology and aesthetics, along with ideas of how to best teach the courses, are in constant flux. Our students come to us with increased skills and understandings of photographic technology, having experienced a heavily technology-mediated society. This puts pressure on teachers to be up to date in the changes occurring in photographic technology and in the methods that can be used to help students learn at ever-increasing levels.
Within public education, there is often a requirement to pursue further education throughout one's career. Continuing education may be necessary to earn increases in salary or to assure retention within an educational system. In higher education, similar activity is required. While degree advances are not always mandatory, continued growth within the field is. External pressures to participate in continuing education should not be necessary, because when you are committed to teaching, you are also committed to staying in touch with how photography is changing. In this way, learning is ongoing and a lifelong activity.
“To remain in the profession of teaching photography requires continual examination of the constantly advancing technologies and aesthetics of imaging. As scholars, we must convey knowledge with fortitude and zeal. Those possessing extraordinary passion will survive. A career in photographic education is demanding, competitive, rewarding and worthy of a lifetime of dedication.”
Janet Bonsall
Central Missouri State University, MO
There are several ways to be involved in professional development activities. In many institutions, whether required for promotions or not, professional development activities for faculty are mandatory for continued institutional accreditation. Therefore, institutions often have policies and even functions within the organization that support professional development. This may be in the form of support for individuals to attend conferences and workshops or to pursue further education through other educational institutions.
Some of the ideas for professional development that permeate education today involve having faculty structure meetings to share learning that they have undertaken, bringing in experts to present new technologies and ideas, and having industry representatives give demonstrations on campus. Though these meetings add other activities to potentially busy schedules, beyond the learning that will take place there are advantages to participating. Your presence in a presentation that has been sanctioned by the institution through either scheduling or funding indicates a commitment to the furthering of your program. Also, meetings within the faculty or with other faculties provide opportunities to create alliances in the least political structures of the institution. Through these educational/professional development activities, common goals and understandings of new technologies and approaches to teaching can create future scenarios for the program.
“The reward can be put in a quote from the Koran. It is, ‘I teach so that I can learn.’ You are constantly changing, constantly learning, constantly evolving, constantly meeting challenges and seeing different people's interpretations.”
Andrew Moxon
Savannah College of Art and Design, GA
Both professional growth and personal growth are keystones of being a teacher. Professional development, whether formalized by the institution or on a personal basis, promotes growth. The benefit in professional development is for the students and indirectly for the teacher. This being said, it is clear that the institutional requirements stated previously add validity to professional development. Therefore, just as with other activities that will be used as part of a résumé or for assessment for promotion/tenure,, documentation of all professional development activities is critical—not critical as to what will be learned by the students alone, but critical as to how you are viewed within the profession as a photographic teacher.
Mentoring
Mentoring is the ultimate form of professional development. The mentor, beyond being willing, must have experience and knowledge of the field beyond what is found in the text or syllabus. The mentee must have a willingness to accept behavioral aspects of the educational setting as well as to learn the knowledge that will be offered. Normally in a mentoring situation it is expected that the mentee will have base knowledge within the field and that the mentor will provide a higher level of information that will be useful to the mentee in performing work within the field. In the selection process for an appropriate mentor in an institution, it must be established that the mentor possesses system knowledge of the institution; compatibility with the mentee is also an important consideration.
Simply stating that there is a mentoring relationship, often by assignment, does not assure that mentoring will occur. To truly be successful, the mentor for a specific field must provide a broad view of the roles and expectations defined within the field. This requires more than simple directions on how to operate, say, the faculty copying machine, in the field of teaching. When a mentoring situation works at its best, the mentee comes away with an understanding of how a system actually functions, regardless of the way it is defined in an organizational chart or other body of literature. This is very important in education, since the success of teachers will be defined by the students' success in learning. The teachers' performances in tangential functions around their teaching will impact the learners.
Some mentoring situations are highly structured while others are less formal. Regardless of the formality in the mentoring relationship, a constant must be that interaction happens on a regular basis. Even though there are times when the pressures of teaching or being an administrator become overwhelming, it is important that mentor/mentee contact remains. This element of continued contact allows for questions and input to happen without undue stress. When a problem arises, help can be sought by the mentee; many problems, however, can be short-circuited if mentoring addresses upcoming issues.
For a teacher (mentee) coming to a new class, a good model for mentoring is to meet with the mentoring teacher prior to each block of classes. In a zone system class, for example, a meeting prior to a discussion of adjusting metering in the field will allow the mentor to present problems and questions that have arisen in past classes. The discussion in this meeting would then address how these questions and problems might be answered and what demonstrations will facilitate the students' learning in the upcoming class. Even though the mentee many have extensive experience with the zone system, the preclass review of the system may bring out new ideas that the mentor/mentee can introduce during the classroom presentation and apply to the inevitable questions.
A model that can be easily instituted, though with a cost of time, is to develop a system where new teachers are eased through a formalized process into their teaching responsibilities. At Brooks Institute, new teachers first sit through the class that they will be teaching. Even though they have taken the class previously, worked professionally in the area of study, and/or studied the material intensively, they will be asked to sit through the class so they can observe how it is taught by a master teacher. The concept is to observe teaching technique, not photographic technique. After completing an observation class, new teachers will assist the master teacher with the next section of that class. In this way, they will be given responsibility for some of the lessons while having a built-in mentor ready to assist with how they function within the class. The relationship between the new teachers and the master teacher also provides a mentoring model for other aspects of working within the institution.
Being a Teacher-Mentor
The challenge is about resources and processes, not abstract learning, for the new teacher. Good mentoring is about introducing the new teacher to examples of good teaching, good work in and with the administration, and good functioning within the profession of photographic education. There are many aspects to teaching, including promotion, tenure, and retention, and it is necessary for a new teacher to navigate them all to become a valuable asset for the photographic program. Even though the search process for a new teacher will likely have produced a good fit for the program, there will still be a need for the new teacher to become part of the team, and that is the real purpose of mentoring.
As a mentor, plan activities, including regular meetings. This should include visiting the new teachers' classroom presentations for nonthreatening peer review. Explore professional development opportunities and encourage new teachers to view their role in the photographic program as more than just teaching classes. Encourage new teachers to produce work, write articles, take part in all institutional activities, etc., to assure that they expand their expertise and that they are viewed as valuable within the institution and the profession.
There are prime examples of good teaching and realistic understandings of what resources are available to the individual. Recognize your abilities and deficits in terms of the overall educational process at your institution, and where necessary bring in other individuals to assist new teachers. Invite your mentees to attend lectures, demonstrations, and critiques with other teachers to familiarize them with the standards expected within the photographic department. While being friendly is nice, being professional is imperative.
Making the Most Out of Being a Mentee
Regardless of whether you are approaching your first job teaching photography or have changed positions after extensive teaching experience at another institution, finding a mentor to assist you in moving into your new institutional slot will be important. If the institution that you are joining does not have a mentoring program, then informally find an individual within the institution who can assist you as a mentor. It is better to select a mentor whose position within the institution is vastly more senior and superior in relation to your new position. This will provide you with a view of the institution that is difficult to see as a newcomer.
In any mentoring relationship, as the mentee you will want to be the recipient of input more than you want to be the dispenser of opinion. It is important in starting that you use all of your senses to acquire as much information about the workings of the institution as possible, to best discover how you might want to teach your photography class.
Working with Industry
Working with industry is one of the ways that photographic education becomes more relevant; alliances can also be beneficial in terms of development for the institution. Often we see that industry will, when it wishes, support photographic programs. While we appreciate these opportunities, we can become frustrated when we fail to wrest support from an industry that we know is dependent upon our teaching. In choosing a strategy to work with industry, it is probably wise to step back to see the big picture rather than to view the situation strictly from our program needs or wants.
First, we must understand that industry is not in the business of supporting our photographic program. While companies may find significant benefit in doing so, their first goal is to be profitable in their enterprise. This truth about the economic status of an industry relates to its ability to support our ongoing educational endeavors. A profitable industry or company is more likely to share some of its resources with educational groups than if it is struggling to meet an economic imperative… survival is foremost.
Not uncommonly, there may be a direct quid pro quo based on sales to the institution. For example, several manufacturers provide equipment to institutions with the understanding that it will be sold by the manufacturers or purchased by the institutions after a specified use. This may mean that the equipment is eventually sold to students, faculty, or the program itself.
More commonly there will be the development of a long-term relationship with industry that will result in long-term sales or marketing goals for their products. This does not mean that industries will only want to be involved with an institution or photographic program that purchases only their equipment or materials. Industries will want to see, however, that any support given to a photographic program fits into their long-term goals. Working with industry should be a win-win endeavor were the school, program, and students benefit as does the industry.
It is critical to view a potential relationship between an industry or company and your photographic program first from the point of view of how it will benefit the industry or company. If you cannot find a benefit to the company or industry and are relying solely on their beneficence, then your ability to gain support will drastically be reduced.
Second, the currency of support coming from an industry to an institution is determined by the industry not necessarily by the photographic program. A prime example of how this can be inappropriately approached comes from a major photographic supplier who manufactures sensitized materials. They received a request from a program for support to buy enlargers, a product they neither manufactured nor marketed. It is not difficult to see that the company chose not to support this photographic program's request.
Ken Lassiter, a former executive at Kodak, said, “Industry seldom has relationships with educational institutions—people in the industry have relations with people in education.” The clear implication of this statement is that regardless of the strength of a photographic program, it will be a personal contact that will likely create a relationship between the company and a photographic program. At one regional conference of photo educators a new instructor at a university photographic program accosted a person representing a manufacturer, telling them how great the university's program was and disparaging another photographic program that was receiving support from the manufacturer. The outcome was that the person-to-person contact undercut any good relationships that other faculty had with the manufacturer. Any support from the manufacturer that the university's photographic program was receiving stopped while that new faculty member was at the institution.
Finally, and perhaps of more importance, industry can give education a gift that is seldom asked for but is one that goes far to promote the photographic program and the industry. This is the knowledge that is inherent within the industry. Seldom are industries devoid of specialized information and knowledge, and our photographic programs are based on teaching the knowledge, equipment, and processes that these industries have developed and/or market. When a photographic program involves itself with the knowledge and developments of an industry and is seen as pursuing that knowledge base rather than a handout, industry tends to share resources. You do not want your photographic program to be viewed as shaking hands with your palm up; you want to be seen as an active partner in the betterment of the industry in general, and the company specifically.
Using Textbooks
Useful yet often unused, textbooks are superb tools to help learners. Unfortunately, many textbooks are not read, or in many cases are not even woven into the structure of the learning. While most textbooks are useful in assisting learning, it is the rare situation that the textbook alone can teach photography. Textbooks find their usefulness in being supportive of or additive to instruction, not as the sole tool used to teach photography.
“We must go beyond textbooks, go out into the bypaths and untrodden depths of the wilderness and travel and explore and tell the world the glories of our journey.”
Benjamin Franklin
One way textbooks gain their usefulness is that they can present the photographic technique in a manner other than in the voice of the instructor. As mentioned earlier, learning does not always come to all individuals in the same manner, and the text can give alternative methods from those presented by the instructor. Of course, this negates the approach of reading the textbook as a lecture, which in any case would make for redundant and boring education. Successful use of a textbook can expand the visual and demonstrated techniques introduced in class; textbook content is a constantly available resource. The material is always available to provide a base for ongoing and linear learning.
“A textbook should not create a narrow window of what photography is.”
Mark Murrey
Arlington Intermediate School District, TX
In some circumstances, the choice may be made that no textbook will be assigned for a particular class. Because demonstrations and laboratory work support so much of photographic education, many learners will avoid reading assigned texts. This being the case, several factors come into play as to whether or not to have a text—whether an appropriate text is available, whether a text is required to expand the presented materials, and whether text materials are needed to prepare for or reinforce learning. Choosing not to use a textbook assumes that all materials needed on a regular basis can be found within class presentations or through easily accessible resources.
Supplemental materials that are included in a textbook are often required to maximize learning. Therefore, the choice to not have a text
Leah; by Joanne Elkin, Salisbury College, United Kingdom, student of John Martin
places added pressure on the instructor to provide support materials in terms of reading and supplemental handouts. Handouts, recommended readings, and web site URLs can also be used to replace a textbook. However, if this method of providing support materials is chosen, the organization and thoroughness of the materials become the responsibility of the instructor.
“Instead of a textbook, I use a constantly evolving set of 150 pages of handouts. I like to keep things up-to-date. I give out the handouts only when we will use them in class and have the students take notes on the handouts. The students stay where I want them to be and do not read ahead.”
J Seeley
Wesleyan University, CT
A textbook many times is assigned to a course year after year, even though the objectives of the course change. When the textbook no longer adequately covers or in other ways no longer fits the course objectives, the textbook should be changed to one that meets the new learning objectives. It is unfortunate if an administration requires a particular text, regardless of its suitability. In such a situation, it is incumbent on the instructor to move to change the text or to find a way around the inappropriateness of the material. It is incumbent on the instructor to assure that there is a match between the materials in the text and the course objectives. This is more of a selection process than a course modification process. Once the techniques are chosen for a course, the textbook or reading materials can be selected to support the learning objectives.
The use of textbooks because they are mandated by the curricula, without the involvement of those who must present the courses, is not uncommon in formal education. Further, it is not uncommon that the materials in the required texts do not support the learning objectives. This is often the case with texts that are all-encompassing, when the learning objectives are not.
There are two ways to approach the use of textbooks: as an active part of the education or as a passive support of instruction. Active use tends to be a format that has the learners coming to lectures, recitations, laboratories, or demonstrations with assigned readings already completed. The passive-use format does not involve preclass reading assignments. Neither approach is necessarily better, but if the active-use format is chosen, a method for assuring that the text is used becomes key to effectiveness. This can be formally done by use of text-based homework or tests and quizzes, or, less formally by engaging the learners in dialogue about the material in the text.
“Teach to the problems, not to the text.”
E. Kim Nebeuts
Choosing texts for courses is an endeavor in matching what is needed to assist the learners with the scope and level of the available textbooks. A textbook needs to support the learning activities without deterring the learner from using it. It is not unusual to see a textbook chosen that covers much more information than will be used in the course and the curriculum. In situations where the learners must purchase the text, this becomes a costly purchase that portends lower acquisition and less use.
Also, because publishing costs have risen, review copies of texts are not as available as they have been in the past. If you wish to receive gratis review texts, you may be required to supply reasons to the publisher in support of your need for a review copy. A publisher may stipulate that the review copy be paid for or returned if it is not adopted for a course.
In today's electronic/web-based information society, it is clear that printed texts are only one type of textual material that can be used to support a class. As with the move from a film-based photographic curriculum to digital imaging, we will continue to see movement to include more digital text sources. Advantages for inclusion of and movement to digitally supported texts include the ease with which text materials can be kept current; text materials can easily be added, deleted, or corrected, and enhanced with photographs in a short time; contemporary issues can be inserted at very little cost; color prints can be accessed (unlike printed texts, where reproductions of color are costly); students can print out pages if they wish for easy reference; and musical tracks can be added with dialogue, which is a real boost for teaching using videos and for preparing slide presentations.
A headline in an August 2005 newspaper reads, “Laptops Oust Textbooks in Arizona School.” Students in Vail, Arizona have been issued Apple iBooks in a high school designed to be textbook-free. The advent of electronically accessible textual materials has opened up a new method for supporting educational instruction with reading and research, without requiring paper books.
Several options exist for providing the learners with reading and research materials from the World Wide Web or other electronic databases that can enrich their learning experience. Depending upon the sophistication of electronic support for such classes, ebooks, web-based materials, and print-on-demand technologies can provide the text support for a class. For example, since many museums have put their collections on the Web, it is possible for a student to research a particular photographic artist without visiting a museum. Though the experience of seeing an original print far exceeds what is seen using electronic imagery, access to a wealth of images and other support material can vastly expand learning experiences. Some schools are now phasing in non-textbook environments and are requiring laptops for the students.
Further, because of the portability of today's electronic storage and computing devices, students can share limited resources. Whether these are iPods, removable hard drives, or laptop computers, course material can be researched and found as text in many electronic databases and can be easily accessed by the students as needed. While this may raise questions about academic integrity, primarily plagiarism, tools now exist to allow the teacher to screen for excessive appropriations of others' creative endeavors.
“The content of most textbooks is perishable, but the tools of self-direction serve one well over time.”
Albert Bandura
Stanford University, CA
Using Technology to Help Learners
In today's photography and imaging education, technology is both the essence of the discipline and a tool for effective teaching. Curricula in learning technologies exist that deal in depth with this area. We will only mention the importance of a program's keeping up with technology in its presentations, as well as the technologies that it teaches. Just as it is important to have a visually active environment to reinforce the visual content of the program, using appropriate technology to teach reinforces the technological portion of the curriculum.
We often tell our students that it will take more time outside class than in class to learn the material; similarly, it will most often take longer to prepare the presentations you will use in the classroom than it will to present them. Even with the assistance that software can provide, the effort needed to prepare and continually update the presentations can be extensive.
“Well before you start teaching, you need to consider how you will impart visual information to your students. While slides, videotapes, DVDs and books or magazines are all options, the current preferred method is PowerPoint.”
Jane Alden Stevens
University of Cincinnati, OH