Exploring Cuneiform Tablets at the NYPL: The Ancient Roots of Homework

Hey, y’all. I’m at the 42nd Street Stephen A. Schwarzman Library on Fifth Avenue in Manhattan, discovering the treasures within. 

Today, I’ve found some intriguing tablets written in cuneiform. As many of you know, I’ve been a teacher for 13 years, and every year, I get a question that’s especially popular among middle, but also high school students: “Who invented homework?” 

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 A fascinating answer might be the Mesopotamians or Babylonians. The tablets we’re talking about were used by students for writing practice, likely within the home of a scribe or a master. The pieces you’re seeing now are mainly literary texts that the students were required to copy and submit as demonstrations of their skill. There’s also a tablet featuring mathematical equations among them. Yes, the New York Public Library has a significant collection of these cuneiform tablets. 

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Pro tip: The Morgan Library on Madison Avenue also has an impressive collection of these ancient educational artifacts. So, indeed, do your homework, kids.

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Alexander the Great's Portrait at British Museum: Deification & Legacy in Art

Hey, y’all. I’m in the British Museum. This marble portrait represents Alexander the Great and dates back to the 2nd century B.C.E. 

Alexander, a master of propaganda, meticulously managed the various depictions of his likeness across his empire. He entrusted the production of his image exclusively to a select group of sculptors and painters. These artists depicted him as youthful, with a clean-shaven face, long hair, and a dynamic pose characterized by a turning head. This style of portraiture was somewhat adopted by Alexander’s successors, but it exerted a more significant influence on the portraits of later Hellenistic kings and private individuals. Alexander was deified during his lifetime, and following his death, he was venerated as a god in images like this one.

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Overcoming Bullying: A Personal Journey of Strength and Advocacy.

Discover how standing up to a bully in sixth grade taught me invaluable lessons about courage and speaking out.

Hey, y’all. In support of anti-bullying efforts, I want to share a personal story with you. When I was in the sixth grade, a kid in the lunch line bullied me. Every day, he would stand behind me and push me relentlessly. So, I went home and asked my parents, “How can I deal with this bully?” My dad suggested, “Just push him back,” whereas my mom cautioned, “Don’t listen to him; you’ll end up in trouble.” Fast forward to another day in the lunch line. Did I push him back? Yes, I summoned the strength, feeling empowered like Naruto, and pushed him. He fell to the ground, and I was astounded by my own strength. Panicked, I ran to the bathroom—the girls’ bathroom—and hid there for the entire lunch period: five minutes, then ten, then twenty. Eventually, the assistant principal called out, “Are you in there?”

I was then taken to Missus Schott’s office. Why she was named “Missus Schott” intrigued us all, as rumors suggested she kept a shotgun in her office. She asked why I was hiding in the girls’ bathroom. I explained how the boy who had been bullying me all year provoked me to push him. I apologized profusely. She reassured me, “It’s okay. We’ve been aware of his behavior. I’m glad you brought this to our attention. You’re okay.” That boy was disciplined for his actions.

But the story doesn’t end there. Upon returning to my sixth-grade class, guess what happened? He was suspended—not me. When I entered the classroom, to my surprise, my classmates applauded. It dawned on me that I wasn’t the only one suffering from his bullying.

Ever since that incident, the boy never bothered me again. I can barely remember what he looked like. So, what’s the moral of my story? I don’t advocate for physical retaliation, but it’s crucial to stand up for yourself. Bullies operate on a simple principle: as long as they believe they can evade consequences, they will persist. Perhaps the best approach is to speak up and make it clear that their behavior is unacceptable.

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Sully Wing Secrets: Louvre's Greek and Egyptian Wonders

Discover a teacher's unique Louvre encounters, from Greek beauty to Egyptian relics. Explore beyond Mona Lisa to uncover the Louvre's heart.

(2) Apollon Sauroctone

(1) Éphèbe

You can't expect to tour the Louvre and see it all. I've visited the museum three times; most recently this past February as a high school English teacher on a London and Paris school trip. My previous visits were in 2000 and 2001 as a college student. During the first of those trips, I explored the Denon wing, which houses the Louvre's iconic treasures — the Mona Lisa, the Winged Victory of Samothrace, the Coronation of Napoleon, and all those wonderful works of art. I was in awe, though I do recall the Mona Lisa looking more like a postcard (she still does, but we adore you, La Joconde!).

On this third visit, I began in the basement of the Sully wing and worked my way up, which proved to be immensely rewarding. And I did not even catch nary a glimpse of Leonardo's lady nor did I see the Nike (they live in my heart). Where the Éphèbe (1) and Apollo Sauroctone (2) reside is a vast collection of Greco-Roman sculpture, including the Venus de Milo. I was struck by the youthful Narcissus, whom I initially mistook for an athlete — he epitomizes Greek beauty and the stylized classical loveliness associated with the young and svelte. Similarly, there is the Apollo — it seems the gods enjoyed odd, vain acts like slaying lizards — apparently, this depicts Apollo as a protector. I had some knowledge of this piece prior to my visit, so seeing it in person was a delight.

Deep in the Sully wing lie the remnants of the Louvre's past life as a fortress before it became a royal palace and now a museum. The dungeon, curiously, serves as the storage for artifacts related to French history and the story of the Louvre complex. Here, I encountered a majestic sculpture representing the river (3) — there are actually two, but here we speak of one: the Seine. And I must say, I was captivated by him.

The Louvre's Egyptian wing is dizzying, with fifteen thousand objects from their massive half-a-million-piece collection. Even after seeing Egyptian art in numerous museums, the Louvre's assemblage feels personal and well-organized. The procession of sphinxes (4) in Room 327 was a charming touch — I half-expected one to spring to life and pose the classic riddle about the creature that walks on four legs in the morning, two in the afternoon, and three in the evening.

A three-thousand-year-old Egyptian statue (5), likely once part of a fierce work, is displayed, and it caught my attention, especially because of its eyes. It reminded me of how Percy Bysshe Shelley envisions the sculptor of Rameses II (now in the British Museum), meticulously carving the pharaoh's visage, well aware of the emperor's demands for precision.

And finally, I returned to that room that first captured my heart — Room 344 — where a statue of Zeus, or technically Jupiter (6) (since it's a Roman piece), stands from the second century. And, goodness, what a figure he cuts!

(3) Un fleuve

(4) Statue of a Sphinx

(5) Statue

(6) Jupiter

Citations:

(1) Louvre Museum. Narcisse (Type, Original en Bronze) - Éphèbe (Boucle, Court, Nu, Appuyé, Sur Pilier, Bas). 2nd century A.D., Basse Égypte. Louvre, Department of Greek, Etruscan, and Roman Antiquities, Sully wing, ground floor, room 344, item Ma 457. https://collections.louvre.fr/ark:/53355/cl010278134.

(2) Louvre Museum. Apollon Sauroctone. 2nd quarter 1st century A.D., Italy. Louvre, Department of Greek, Etruscan, and Roman Antiquities, Sully wing, ground floor, room 344, item Ma 441. https://collections.louvre.fr/ark:/53355/cl010278000.

(3) Barye, Antoine Louis. Un fleuve. 19th century, France. Musée du Louvre, Department of Sculptures of the Middle Ages, Renaissance, and Modern Times, inventory number RF 1560 & RF 1561. Louvre Museum, Sully, [HIST LOUVRE] Salle 134 - Salle de la maquette, Vitrine 08 https://collections.louvre.fr/en/ark:/53355/cl010093894.

(4) Musée du Louvre. Statue of a Sphinx. Circa 380-362 B.C. [?], Serapeum of Memphis, Saqqara. Musée du Louvre, Department of Egyptian Antiquities, Room 327, Sully, inventory number N 391 D. Louvre Museum, https://collections.louvre.fr/en/ark:/53355/cl010009175.

(5) Musée du Louvre. Statue. Third Intermediate Period, circa 1069-664 B.C. [?]. Musée du Louvre, Department of Egyptian Antiquities, inventory numbers E 2410; N 1579; Clot bey C 25 no. 5. Louvre Museum, https://collections.louvre.fr/en/ark:/53355/cl010013953.

(6) Musée du Louvre. Jupiter. 2nd century A.D. [?], Italy. Musée du Louvre, Department of Greek, Etruscan, and Roman Antiquities, Room 344. https://collections.louvre.fr/en/ark:/53355/cl010277023.

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Energize Students with Quick Activity: Critical Thinking & Movement for Engagement

Revitalize your classroom dynamics with an interactive activity that boosts student engagement and fosters critical thinking. Discover how positioning students based on their opinions on controversial topics like myths and relationships not only energizes them but also prompts insightful discussions on peer influence and the Socratic method. Suitable for grades seven and up. Share your experiences!

If you’re looking for a quick method to energize your students, particularly if they appear sluggish or disinterested at the beginning or end of a class, set aside three to four minutes for this activity. Initially, they might groan, but then you present them with a scenario. 

 

You’ll ask a question and instruct students to position themselves in the classroom based on their response: those with an emphatic “yes” to one side, an emphatic “no” to the opposite side, and the undecided or “wishy-washy” in the middle. The closer a student stands to either side, the stronger their feelings about the topic. 

 

For instance, you could pose a question like, “Was Narcissus right to reject Echo’s love?” or “Does this myth accurately represent aspects of romantic relationships or unrequited love?” The more controversial or thought-provoking the question, the more engaged the students will become. As they move around the room, they not only physically activate but also engage in critical thinking, determining their stance on the issue. 

 

Observing students who are indecisive, watching where their friends go, and then following, provides an opportunity to address the influence of peer pressure in a gentle manner. This activity is not only a fun way to get students moving but also fosters critical thinking and encourages a Socratic method of engagement. 

I have implemented this strategy with students as young as seventh grade and with high schoolers. Have you tried this approach before? I’m eager to hear your thoughts and experiences.

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Language Meets Art: Exploring 'Amor' and 'Caritas' in Augustus-Saint-Gaudens’ Work at The Met 🌟🖼️

Explore the captivating intersection of language and art in Augustus Saint-Gaudens' masterpiece, Amor and Caritas, at The Met. A linguistic and artistic journey awaits, unveiling the roots of love and charity in this gilt bronze treasure. Perfect for educators and art enthusiasts.

Hey, y’all! 🌟 Hey, y’all! I’m at the Metropolitan Museum of Art today. I’m looking at Augustus-Saint-Gaudens’ gilt bronze piece from 1918 in the American wing. As a high school and middle school English and humanities teacher, I’m thrilled to share a bit of word power knowledge with you.

This piece beautifully intertwines language and art, featuring the words ‘amor’ and ‘caritas.’ 📚 ‘Amor,’ the Latin for love, is the root of the English word ‘amorous.’ And ‘caritas’? It signifies love and charity, a reminder of generosity and virtue. 💖

What makes this even more special is the angelic figure presenting these powerful words – a perfect blend of linguistic heritage and artistic expression. 🌈 So, here’s to finding love and language in art!

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Redefining Literacy in the AI Era: The Shift from Linear to Fragmented Reading

In this blog post, I discuss how literacy is evolving—a concept that has fascinated humanity since the advent of long-distance communication technologies such as the telegraph and telephone. Nowadays, our interaction with information is marked by its agility and rapidity, as demonstrated by AI advancements like ChatGPT from OpenAI.

Print magazines line a newsstand at the airport.

The way we access tools online is altering how we access texts. When Google search was first developed in the late '90s, the shift was from looking up information in print media to finding information online. However, we did not know it then, but search was a static, linear form of reading, not much different from how we generally read – in clusters of words and phrases, placed one after the other. Now, computer programmers have built tools designed to make savvy deductions on matters ranging from "The Best Way to Write a Cover Letter" to "Romanticism in Britain in the late 19th century." Instead of 'finding' what we need, we are 'sourcing' it. It's incredible, really. These generative AI models, including others like Google’s Bard (now, Gemini) and Bing’s Copilot, are built on extensive datasets, which range from Shakespeare's works to modern product labels. However, the opacity surrounding these datasets raises critical questions about transparency and intellectual property.

Consider the hypothetical 'Books three' corpus, comprising 157,000 copyrighted books. The file is purportedly an illegal 'scrape' of proprietary content The use of such a comprehensive dataset in AI training could potentially revolutionize our access to literature. This aligns with my vision of immediate access to any book, a dream that once felt unattainable.

The transformation in literacy is stark when we look back historically. In the past, literature was an auditory experience, where figures like St. Ambrose and Augustine engaged with texts through oral recitation. In this iteration of reading, words were vocal, heard, and disruptive. So, when Augustine saw his teacher Ambrose reading silently one day, it was a surprise to the young priest. That Ambrose could read to himself, without whispering the words, was a revelation. Recalling my time as Brother Bede, when I was a Benedictine monk, I remember being taught that in St. Benedict's 'Rule,' he emphasized the importance of reading out loud, contrasting with our present view of reading as a solitary, silent activity. And I realized that I spend most of my time reading silently, but when I do read out loud, it is a different, qualitative experience. I can feel the difference and can imagine being like Augustine, feeling his surprise when he saw Ambrose read silently – it blew his mind. Another shift in literacy is on its way, and it is just as, or more, mind-blowing than silent reading.

Certainly, it is mandatory to mention that the Gutenberg printing press was a pivotal moment in literacy, enabling widespread distribution of books, thus changing the way information was disseminated. In 2024, the proliferation of printed and digital materials further morphs our interaction with texts like 'Don Quixote', 'Arabian Nights', and contemporary literature. When books were first made affordable to a growing middle class, the modern-day educational system also developed, and while the ability to read and write was a luxury afforded only to the upper classes, the clergy, and those at the top echelon of the governing state, they found themselves not the only folk who benefited from literacy and reading. I cannot imagine myself not being able to read. An older man in my building was asking me about the gas bill, wondering if it had risen for me. I showed him my bill, and he meekly told me, "Oh, that's okay. I believe you." He was Mandarin-speaking, and I knew he knew a little English, but when I showed him a translation explaining that the building was reinstalling some pipes, he immediately told me, "I don't read that type of Chinese." I realized that I had known him for a long time and it was true, I had never seen him read, and he never liked to receive written messages, always preferring one-on-one conversations. I had a moment of realization that he lived in a more limited world than someone who was literate, but he seemed okay, thriving really. He maintained his backyard with pear trees and figs, and in the summer, massive tomatoes grew on a vine along the back red brick of the house. And I definitely do not know how to grow a garden the way he does; it is a loving exercise and I admire it. An eighty-year-old man doing the work, and I feel this strange sense of embarrassment, like I realize I am not as educated as he is, even though I can read fairly well, and if I want to, I can also read in a couple of other languages. My entire life revolves around words and literacy. It is my bread and butter. But still, there is something about the immediacy of the oral word, the spoken, that feels legitimate to me.

Our age is marked by AI-assisted and multimedia reading experiences. I just received a response today from one of my students – a short written response on the theme of curiosity as it develops in a passage from Ovid. But I had him talk about it one-on-one, and the eloquence that was in the written words was lost. And as I listened to him speak, I realized that he had indeed read the text; that was not the problem; he had not understood it. He would have to sit with Ovid a bit more. But is that something we still do? Long, sustained, silent reading, like Ambrose in his study? Even listening to audiobooks – which I actually think of as the purest way to experience literature, the way Homer would have spoken the words of the Odyssey – is popular, and maybe that is a way back to an older iteration of speaking and listening. In a recent poll conducted by the Pew Research Center, 23 percent of Americans say they haven't read a book in whole or in part in the last year. The people who are not reading, according to the data, are high school graduates without a college degree. The poll data showed that "Hispanic adults, older adults, those living in households earning less than $30,000, and those who have a high school diploma or did not graduate from high school were among the most likely to report in that survey they had never been to a public library." But of those who read, literacy is more important than ever – and how we access information is critical for how we see ourselves in the future. Are we going to continue to be a society that still attends to words in the way that a professor of antiquity will learn Latin or Greek in order to read texts written in languages no one speaks or writes in anymore? We no longer solely read a book from start to finish. We consume content in various forms: watching videos, listening to podcasts, or even immersing ourselves in a VR device that places us within a 3D rendering of a play's setting. This multi-modal approach to literacy allows for a more dynamic and interactive engagement with text, challenging the traditional linear narrative.

This revolution in literacy is reshaping educational paradigms. Teachers will navigate a landscape where students have instant access to a vast array of texts and AI tools. Lessons will no longer be confined to structured units but will evolve into expansive, interactive explorations of literature and information.

The shift to this tech-integrated literacy might lead to a disconnection from our sense of humanity, necessitating escapes to technology-free zones for mental health. Resorts in remote locations, offering a respite from digital saturation, would become essential for re-grounding our human experience.

In summary, the way we relate to language and literacy is undergoing a profound transformation. We are moving from traditional, linear reading habits to fragmented, AI-integrated, and multi-modal literacy. This shift challenges us to rethink our approach to reading and its implications for our cognitive and social development.