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If Mapplethorpe had Instagram, would his account get banned? In museums, nudity and emotional expression are well-accepted. But the account @artwerk6666, which often features twerking and seemingly baroque iPhone photos of the nude body, recently got deleted at 69 thousand followers for about the 17th time. Featured on Vice, Dazed 100 and a couple of smaller culture websites, Alexandra Marzella, the owner of @artwerk6666, is an artist, selfie taker and feminist performance artist — so what’s the issue? Nudity. Nudity is crass and unsophisticated, or so digital admins would have you believe. Her account, however, is one of many that intentionally misuses social media to display an affect of rawness that destabilizes the idea of a polished public face. An Instagram feed with different variations of golden-hour selfies would be a boring place to be. Social media spaces should take the recent Tumblr regulation initiatives as a sign to take a step back, since feminist performance artists rely on social media to destabilize the image of the perfect woman for consumption.
Jedidah Isler is a first-year professor of physics and astronomy at Dartmouth. She studies particle acceleration and blazars — enormous black holes that shoot high-energy jets of particles — and is dedicated to furthering the positions of women of color in STEM fields. In addition to being the first African-American woman to earn a Ph.D. in astrophysics from Yale University, she is the founder of Vanguard STEM — a live, monthly web-series that features a panel of women of color in STEM discussing anything from research to advice.
In the first week of January, the Dartmouth Title IX Office announced it launched a mandatory sexual violence prevention training course for school faculty, staff and postdoctoral scholars.
Four fraternities welcomed a total of 23 members over the winter rush that took place on Jan. 18 and 19. Compared to last winter’s 16 bids, six more bids were offered this winter, with Sigma Nu accepting the greatest number of brothers.
The first poem I remember loving was “From Blossoms” by Li-Young Lee. I memorized its soaring verses, each one a dedication to peaches, and would recite it at nearly every lunch period to the chagrin of my classmates. I was a girl obsessed. That was the first time I had seen a poem that was unapologetically jubilant; Lee eschewed everything I thought I knew about poetry in “From Blossoms.” There was nothing depressing, pejorative or traumatic. It was simply an exalting review of some really good fruit and a really good summer’s day — and it was in that simplicity that Lee found the nuance and depth that marks interesting poetry.
It’s an understatement to say that Netflix has a bad history with its original movies. Sure, they might make one decent movie every now and then, but for every “Roma,” there are at least three films like “The Cloverfield Paradox.” “Polar,” regrettably, won’t be joining “Roma,” “Mudbound” or “Beasts of No Nation” in the lofty pantheon of decent Netflix movies because, depending on your definition of what makes a movie good, it’s either some of the worst trash to ever grace the “trending now” section of Netflix, or a glorious hot mess that’s incredibly entertaining by virtue of how bad it is.
I first heard about Comparative Literature 42.01, “Prada, Chanel, Ferrari: History and Literature” during the tail end of this past fall term. Long enough into the term that I’d begun to feel that itch: the one that you feel when you have just finished midterms and major projects, but have yet to begin finals. The calm before the storm, a lull right before things get crazy, prompts me to start looking at the course timetable for next term. Fantasizing about classes that I didn’t currently have to worry about, the escapism trickled into conversations with friends. Soon, our mumbled grievances during rushed meals turned into almost giddy, romanticized exploration of courses we didn’t have to do work for yet. Somewhere along the way, appearing almost out of nowhere, the mythos of “Prada” was created, and it was felt everywhere on campus. As soon as course selection period began, the class filled up instantaneously, perhaps based on the assumption that it was graded entirely on attendance and four pop quizzes. The class limit was increased from 30 to 60, then again to 200. On the first day of winter term, not accounting for unregistered attendees hoping to get off the waitlist, the class numbered somewhere around 230 people.
“One” long awaited dining event occurred last night at the Class of ’53 Commons, starting at 4:30pm in the afternoon and running throughout dinner until 8:00pm. The dinner was designed to expose members of the College community to local restaurants and eateries through the addition of dishes from various local restaurant menus to ’53 Commons for the night.
In its Verbum Ultimum on Jan. 25, The Dartmouth editorial board asserted that “The [Rockefeller] Center must recommit to its original guiding mission.” The contention in the editorial is that “much of the Rockefeller Center’s identity has been constructed around the notion of ‘leadership.’” In this response, I will explain why the second of these assertions is true but the first is not. I will also argue that rather than being a detraction from the liberal arts experience at Dartmouth, leadership programs of the sort offered at the Rockefeller Center are an essential element of Dartmouth’s mission to prepare its students for “a lifetime of learning and of responsible leadership.”
In the 13th chapter from her series "Mixed from Maine," Cecilia Morin '21 illustrates our evolving standards as temperatures drop.
The premiere of “Crazy Rich Asians” and the inception of the Facebook group Subtle Asian Traits were only a month apart last fall, marking a turning point in how Asian identities are perceived in mainstream media. Despite their names, both the film and the online community cater more toward an audience of Asian descent than an Asian audience. “Crazy Rich Asians,” a Hollywood film, was made for American Asian viewers. The scope and reach of Subtle Asian Traits has become much greater. The group was started by a handful of Australian high schoolers in Melbourne to bond over what it meant to be the children of Chinese immigrants. Intending it to be a local Facebook community, the students had added all of their Asian friends and classmates, but then membership increased exponentially to a thousand people within a few weeks through the same process. Subtle Asian Traits currently has over 1.1 million members globally, many of whom live overseas in Canada, the Netherlands, the United Kingdom, the United States and other Western countries. And while “Crazy Rich Asians” has experienced an unprecedented amount of mainstream success for a film of its genre, Subtle Asian Traits is ultimately more effective when it comes to representing and building the global Asian community.
In its 250th year, how can Dartmouth recognize the failures of the past while celebrating its diverse present and future? “Indigenous Rising: An Evening of NextGen Native Artists,” an upcoming event at the Hopkins Center for the Arts featuring three Native American artists, is attempting to adjust that and represent more Native artists.
The Studio Art department is hosting a new Artist-in-Residence for the winter term. Emily Jacir is a conceptual artist who works in a range of mediums, from photography to sculpture to installation.