14 Edward Alexander Bouchet
Edward Alexander Bouchet |
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Time period:19th – 20th Century Subject:Chemistry and Physics (along with astronomy, physical geography and physiology) |
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Biography:Edward Bouchet was born in the US (New Haven, Connecticut) on September 15th, 1852. He attended the New Haven High school and also won valedictorian of this class at Hopkins Grammar school in 1870. He then continued his education at Yale College in the same year and was the first African American to graduate from Yale College in 1874. He was also elected for the Phi Beta Kappa, the oldest academic honour society in the country. He continued his graduate studies at Yale and received a Ph.D. in Physics in 1876. He also become the first African American to obtain a doctoral degree from an American university.
His later life included teaching chemistry and physics for over 26 years at the Institute of Coloured Youth which is located in Philadelphia, PA. He also taught classes in astronomy, physical geography, and physiology.
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Summary of their contributions:Due to this race, Bouchet was not able to land a position in a college as a professor. He instead devoted this time at the School for Colored Youth in Philadelphia. He brought in his chemistry and physics knowledge to one of the very few institutions that had a core academic program for African Americans. After leaving the school in 1902, he continued his teaching career as a high school teacher in St. Louis, Missouri and St. Paul Normal and Industrial School in Virginia. Additionally, he was a principal at the Lincoln High School.
Although he did not have any ground-breaking discoveries, he offered his knowledge in various areas in education. In honour of this, Yale created an award (named the Bouchet Leadership Award) for those who contribute to diversity in higher education.
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Integration with the BC Secondary Science Curriculum:Edward Bouchet research revolved around geometrical optics and wrote a dissertation named “On Measuring Refractive Indices” which was focused on geometrical optics. Optics are not directly in the BC Sciences/Physics curriculum but we can combine the contents from the physics (behaviour of light) and math (geometry) curriculum together:
By splitting optics into the study of light and geometry, we can incorporate lessons in students’ Science 8/Physics 8 and Math classes. |
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References:Biography of Edward A. Bouchet: The Graduate School – Northwestern University. (n.d.). Retrieved December 8, 2023, from https://www.tgs.northwestern.edu/diversity/retention/bouchet-honor-society/biography-of-edward-a.-bouchet.html Edward Alexander Bouchet: The First African American to Earn a PhD from an American University – Connecticut History | a CTHumanities Project. (2022, February 12). Connecticut History | a CTHumanities Project – Stories about the People, Traditions, Innovations, and Events That Make up Connecticut’s Rich History. https://connecticuthistory.org/edward-alexander-bouchet-the-first-african-american-to-earn-a-phd-from-an-american-university/ Edward Alexander Bouchet—Family, Quotes & Achievements. (2020, August 18). Biography. https://www.biography.com/scientists/edward-alexander-bouchet This Month in Physics History. (June 2007). Retrieved December 8, 2023, from https://www.aps.org/publications/apsnews/200706/history.cfm Welcome | Yale Phi Beta Kappa. (n.d.). Retrieved December 8, 2023, from https://pbk.yalecollege.yale.edu/ |


College of Social and Behavioral Science
84 Perceptions of Environmental Disparities in Salt Lake County
Isabella Marquez and Sara Grineski
Faculty Mentor: Sara Grineski (Sociology, University of Utah)
Environmental hazards disproportionately impact people of color and people of lower income. Specifically, people of color and people of lower income face higher levels of fine particulate matter (PM2.5). PM2.5 leads to nearly 200,000 deaths in the U.S. per year. (Collins et al., 2022; Tessum et al., 2021). These disparities have been found throughout the U.S. and within Salt Lake County (SL Co). From February to May 2024, we phone surveyed 542 residents of SL Co about their perceptions of air pollution. We asked respondents if air pollution affects people of color worse than White people and if air pollution affects people of lower income worse than people with higher incomes. We found that respondents generally disagreed with those statements, Of the two, the statement regarding people of color had a lower level of agreement. This contradicts existing disparities in air pollution exposure between people of color and White people locally (Collins and Grineski 2019; Mullen et al., 2020) Those not living on the Westside of SL Co and women disagreed slightly less than other demographic groups. This implies a disconnect between public perception of environmental injustice and scientific research on the topic.
Bibliography
Collins, T. W., & Grineski, S. E. (2019). Environmental injustice and religion: Outdoor air pollution disparities in metropolitan Salt Lake City, Utah. Annals of the American Association of Geographers, 109(5), 1597–1617. https://doi.org/10.1080/24694452.2018.1546568
Collins, T. W., Grineski, S. E., Shaker, Y., & Mullen, C. J. (2022). Communities of color are disproportionately exposed to long-term and short-term PM2.5 in Metropolitan America. Environmental Research, 214, 114038. https://doi.org/10.1016/j.envres.2022.114038
Mullen, Casey J., Sara E. Grineski, Timothy W. Collins, Wei Xing, Ross Whitaker, Tofigh Sayahi, Tom Becnel, Pascal Goffin, Pierre-Emmanuel Gaillardon, Miriah Meyer, and Kerry E. Kelly. (2020) Patterns of Distributive Environmental Inequity under Different PM2.5 Air Pollution Scenarios for Salt Lake County Public Schools. Environmental Research 186:109543. doi: 10.1016/j.envres.2020.109543.
Tessum, C. W., Paolella, D. A., Chambliss, S. E., Apte, J. S., Hill, J. D., & Marshall, J. D. (2021). PM2.5 polluters disproportionately and systemically affect people of color in the United States. Science Advances, 7(18). https://doi.org/10.1126/sciadv.abf4491


20 May 2007: Pinter, No Man’s Land
American Repertory Theatre, Cambridge. Directed by David Wheeler
The two chief actors in this production, Paul Benedict and Max Wright, look so much like the two originals of Hirst and Spooner —Ralph Richardson and John Gielgud — that the resemblances seem blithely intentional, almost as if Benedict was “doing a Ralph Richardson” and Wright “a John Gielgud.” Granted that was what they were doing, it added a nice, charming richness to the portrayals without in the least getting in the way of two very fine, finished performances, especially Max Wright’s.
Hirst, an old man, a successful “man of letters,” is all locked up in himself, notably deficient in short-term memory and in effect a prisoner in his own house, looked after by his two henchmen — sorry, house men — Foster and Briggs, peacock and thug, respectively, played with considerable panache and verve by Henry David Clarke and Lewis D. Wheeler. Spooner, in great contrast, is an old man who has lost his moorings. Like Hirst, or so it seems, a graduate of Oxford, he too is a poet but living in reduced circumstances, collecting empties in a Chalk Farm pub. They somehow connect while in a bar — Jack Straw’s Castle, at the far north end of Hampstead Heath; Hirst brings Spooner home for a drink. And as the alcohol flows, the mutual self-defenses and inadvertent self-betrayals that characterize both personages are put on view, in two masterful acts by a dramatist in complete possession of his powers.
David Wheeler has much experience with Pinter, and it shows. This is as masterful an articulation of Pinter’s script as the script itself is of Pinter’s idea; a beautifully finished performance in every respect, full of flamboyant and yet carefully controlled acting, with some of the nicest details you will ever see in a production of a Pinter play — for example, twice, before Spooner, alone on stage sits down to play the piano (which of course is out of tune), he gives a diminutive bow to the audience in anticipation of his playing; an amusing touch that seems exactly right for the character and the moment.
Of course, I can’t help recalling my experience of the Richardson – Gielgud original production, which I had the very good luck to see in London in 1975 after it transferred from the Old Vic to the West End (Wyndham’s, I think). I remember the moment in the first act when Hirst, having drunk far too much scotch, simply keels over. Richardson did it the way his Victorian actor-predecessors did it, by falling backwards in a stiff attitude, body fully erect, so that he hit the stage floor all at once with all parts of the back of his body. I had seen that demonstrated and written about, and it makes for an electrifying, terrifying moment. The present Hirst, Paul Benedict, in contrast, sort of crumpled to the floor, then struggled upright, walked toward the door, and then crumpled again. There is nothing wrong with doing it that way, of course, but the straight-as-a-board image of Richardson’s backwards fall remains in my head permanently.
So, a very fine production, capturing well the double contrast of the two pairs of men, old and young, who, pair by pair, inhabit separate worlds, each with its own common set of dangers, traps, menaces, and threats; despite the generational differences, the two worlds have in common the fact — it is the deepest, most basic, profound fact in Pinter’s world — of the opaque, unknown, unknowable center of consciousness in each character, and in each of us, as we see ourselves mirrored on Pinter’s stage, the “no man’s land” that is simultaneously the battleground where we engage with others and the equally hostile, unfriendly ground inside our own minds and hearts where we strive, and mostly fail, to know ourselves.


| Word |
Form |
Meaning |
| acoustic |
adjective |
a musical instrument played without electrical amplification |
| anonymous |
adjective |
not identified by name |
| aroma |
noun |
a scent |
| bass |
noun |
an instrument with the lowest, or deepest, sound |
| blogger |
noun |
a person who expresses opinions on Internet discussion sites called blogs (weblogs) |
| boundary/boundaries |
noun |
line(s) that mark a limit |
| came up short |
expression |
failed to reach a goal |
| censor |
verb |
to cut out or delete unacceptable parts of a conversation or document |
| chorus |
noun |
the repeated part of a song |
| cliff |
noun |
a high point on a mountain above a vertical drop |
| compliment |
noun |
polite expression of praise or congratulation |
| critic |
noun |
a person who judges the quality of something, or offers negative opinions of it |
| criticism(s) |
noun |
expression(s) or judgment(s) of the fault(s), and sometimes quality, of something |
| crossing a line |
expression |
behaving in a way that is not acceptable |
| decade(s) |
noun |
a period of 10 years |
| diversity |
noun |
variety |
| double bass |
noun |
the largest instrument in the violin family |
| duet |
noun |
two musicians performing together |
| easy on the eyes |
expression |
good-looking; beautiful |
| eligible |
adjective |
worthy to be chosen |
| eye candy |
slang |
good-looking; beautiful |
| filter |
verb |
to choose or carefully limit what is allowed out or in |
| gender |
noun |
the social distinction of being female or male |
| genre |
noun |
a category of artistic work in stories or music |
| gesture(s) |
noun |
movement(s) of the body, especially hand(s) or the head, to express meaning |
| handsome |
adjective |
good-looking; attractive |
| has a lot on his/her plate |
expression |
is very busy; has many responsibilities |
| in-your-face |
expression |
very direct; impossible to avoid |
| inclusion |
noun |
the action of including someone or something in a group or action |
| intermission |
noun |
a planned break in a performance |
| intimate |
adjective |
very private; innermost; confidential |
| lyrics |
noun |
the words of a song |
| moderator |
noun |
a person who keeps order in a discussion |
| moody |
adjective |
given to unpredictable changes of mood |
| non-verbal |
adjective |
without speaking |
| old soul |
noun |
a wise, perhaps older, person |
| opinionated |
adjective |
having strong opinions |
| performance |
noun |
the act of presenting, or staging, a concert or play |
| pessimistic |
adjective |
negative |
| published |
verb |
printed or produced for public sale |
| reviewer |
noun |
a person who rates the quality of something and expresses an opinion about it |
| revival |
noun |
a new production of an old work of art or music |
| rhythm(s) |
noun |
strong, regular sound(s) or beat(s) in music |
| roots |
noun |
origins |
| rural |
adjective |
in the countryside, not in a city or town |
| shadowing |
verb |
following closely |
| short list |
noun |
a list of a few individuals being considered for a prize or honour |
| silver lining |
expression |
the brighter or hopeful side to a problem; from the proverb “Every cloud has a silver lining” |
| smashing |
slang |
excellent; wonderful |
| solo(s) |
noun |
one musician performing alone |
| something’s up |
expression |
something unusual is happening |
| stage |
noun |
a platform for performers, often higher than the floor |
| sugar-coating |
adjective |
making something sound better than it really is |
| texture |
noun |
the feel of a substance |
| the most eligible bachelor |
expression |
the single man most qualified for marriage |
| throw up |
verb |
to vomit |
| TMI |
abbreviation |
too much information |
| Twitterverse |
noun |
all the users and comments on the social networking site Twitter |
| unoriginal |
adjective |
copied; not new or imaginative |
| upbeat |
adjective |
cheerful; optimistic |
| vocal |
adjective |
freely saying, or voicing, opinions |