Jennifer Summit

Global Citizenship Demands New Approaches to Teaching and Learning: AASCU's Global Challenges Initiative

Jennifer Summit is a professor of English and Eleanor Loring Ritch University Fellow in Undergraduate Education at Stanford University. In 2012-13 she served as an ACE Fellow at San José State University, where she observed the development of its Global Citizenship course and participated in other initiatives related to undergraduate learning and engagement. T oday’s college graduates are entering an interconnected world in which globalization will affect nearly every facet of their lives. In turn, college and university mission statements increasingly include the intent to educate “global citizens” among their fundamental commitments. Yet our students’ global knowledge and understanding remain strikingly limited—if anything, they appear to be in a state of longterm decline. According to Derek Bok, the United States bears “the dubious distinction of being one of only two countries in which young adults were less informed about world affairs than their fellow citizens from older age groups” (226).

“The Arte of a Ladies Penne”: Elizabeth I and the Poetics of Queenship

n the third book of The Arte ofEnglish Poesie, George Puttenham asks “who in any age haue bene the most commended writers in our English Poesie,,’ and the names he offers in response-among them, Chaucer, Wyatt, Sidney, and Ralegh-outline the beginnings of a high-literary history in English.’ But when it comes to naming the greatest poet of all time, Puttenham brushes these canonical figures aside in favor of none other than Elizabeth I: “last in recitall and first in degree is the Queene our soueraigne Lady, whose learned, delicate, noble Muse, easily surmounteth all the rest that haue written before her time or sence” (p. 77). To support this extraordinary statement Puttenham reproduces in hll Elizabeth5 enigmatic poem, “The Doubt of Future Foes,” claiming that it represents nothing short of “the most bewtifull and gorgious” of all of English poetry (p. 254). Despite the exhaustive critical attention that Puttenham’s text has received in the past decade, this passage has attracted surprisingly little notice, except to be dismissed as the piece of flattery that it undoubtedly is.* But the