As feminists rise up and flood the streets in the years since Trump's election, the movement has simultaneously strengthened its own internal critique. Feminism has long been comprised of multiple streams in tension and often outright conflict. Drawing on nearly 200 years of feminist activism and writing, Kyla Schuller delineates the traditions of what has come to be called "white feminism" and "intersectional feminism"—revealing the liberatory potential of a feminism all too often forgotten, and the devastating limitations of the movement that has become iconic.

I have been thinking of this essay as a road map to the ideas and practices of public humanities, a map that would help answer the title question, "why public humanities?" This essay will look at some beginning points for public humanities; work through definitions; talk about the stakes for faculty and students–and the universities and communities in which they work–and consider whether public humanities could be transformative rather than simply translational. No matter how you map public humanities, discussions of collaboration and social justice need to be at the center.

The public humanities stand the best chance of showing the distinctive contribution that the humanities can make to all fields of knowledge by keeping alive values that are irreducible to both instrumentality and profitability. The public humanities not only shows what the humanities have to offer the public sphere, but how various publics are framing what the humanities do within the university.

In this interview, on the occasion of the publication of her new book, Rey Chow reflects on the public (as well as environmental and digital) humanities and the current status of Michel Foucault's thought, among other topics.

I want to focus on three diverse examples of trickle-up innovation—Theatre of the Oppressed, ACT UP, and the Pro-Test Lab—with mentions of others to encourage more cultural-agent spotting. Artists are never simply victims of circumstance. Their agency sets off creative responses. To follow through from the call of social challenges to the responses of aesthetic innovation is to stimulate collective change.

This book-length manifesto offers itself as both love song and lament. I interrogate research-creation as a genre full of exciting pedagogical and institutional possibility. I also lament the hopeless exhaustion I see in colleagues all around me. As a strategy of resistance to the resignation that surrounds me daily in the arts and humanities wings of the university, I look to research-creation, even as it is being commodified right under our feet, as a site of generative recrafting: a touchstone and orienting point that might help render daily life in the academy more pedagogically, politically, and affectively sustainable.

A leading scholar and institutional leader reflects on recent developments in her field, the public humanities, and the evolution of a research center for medieval and early modern studies.

I’ve argued... that [an interdisciplinary] future is imaginable if world-wide, education in the humanities—literature and philosophy, in other words—is, in a certain way, undertaken, and on all levels.

How could virtual reality be best used for public humanities? One immediate thought is that virtual reality would be an excellent tool for teaching history.

In 2019 you began your service as Director of the UCLA Center for Medieval and Renaissance Studies (CMRS), one of the most venerable centers of its kind. Now you are overseeing its transformation into the UCLA CMRS Center for Early Global Studies (CMRS-CEGS). What prompted the change? How did you...