4,694 research outputs found
"I my own professor": Ashton-Warner as New Zealand educational theorist, 1940-60.
No full textThe invitation to contribute to this volume addressed me as a New Zealander who had written about how Sylvia Ashton-Warner's fantasies, theories, imagery, and life-history narratives threaded their way through my own. I had written of my youthful encounters with her work in Educating Feminists (Middleton 1993), in which I looked back on reading Spinster in 1960 at age thirteen and reflected on my teenage dreams of life as an artist and beatnik in Parisian cafes and garrets: confined to an Edwardian boarding school hostel in a provincial New Zealand town, I had plotted my escape to what Ashton-Warner described in Myself as "some bohemian studio on the Left Bank in Paris or over a bowl of wine in Italy, me all sophisticated and that, with dozens of lovers, paint everywhere and love and communion and sympathy and all that" (Myself, 212). When, in the early 1970s, I began secondary school teaching and read Teacher, that book built bridges between the frightening urgency of classroom survival, the enticing theories but alien classrooms described by American deschoolers and free-schoolers, and "what I believed myself to be when a girl on the long long road to school, a vagabond and an artist" (I Passed This Way, 307). As a young teacher I, too, had poured my impassioned soul into writing journals and poetry, painting, and playing the piano. Like Ashton-Warner, I had hoped that artistic self-expression could keep the mad woman in my attic at bay, for "asylums are full of artists who failed to say the things they must and famous tombs are full of those who did" (Incense to Idols, 169)
Sylvia’s place: Ashton-Warner as New Zealand educational theorist.
No full textSylvia Ashton-Warner’s New Zealand educational context has been – and continues to be – misrepresented as antithetical to her creative methods. Sue Middleton, a professor of education, locates Sylvia’s educational ideas within the national and international Progressive Education movement, indicating that key education officials in post-war New Zealand encouraged creativity and self-expression.
This chapter makes the case that, as a teacher, an educational writer and theorist, Sylvia Ashton-Warner grew in, and not in spite of New Zealand. My argument unfolds in two parts. The first reviews theoretical ideas in the local and international educational environment in which Sylvia lived and worked. Sylvia and Keith Henderson taught in what was referred to until 1946 as the Native School system (and from 1948 until its abolition in 1968 as the Maori Scholl system). They trained and began work as teachers during the Great Depression; and Sylvia began serious writing during World War Two. The war and the Native Scholl system interested in complex ways with the wider international Progressive Education movement and its promotion ‘from the top’ in New Zealand’s public schools. An overview of Progressive (or New ) Education, the changing theories of culture and race in the Native School system, and relations between these during World War Two, opens a wide-angled aperture through which to read Sylvia’s early writing
Introduction: Sylvia, a New Zealander
No full textSylvia Ashton-Warner had an intensely ambivalent relationship with the land of her birth. Despite receiving many accolades in New Zealand – including the country’s major literary award – she claimed to have been rejected and persecuted, and regularly announced that her educational and literary achievements were unappreciated or insufficiently acknowledged by her compatriots. In her darkest moments, she railed against New Zealand and New Zealander, even stating in one television interview: “I’m not a New Zealander!
One hundred years of Sylvia Ashton-Warner: An introduction.
No full textA biography of Sylvia Ashton-Warner is presented. She was born on 17 December 1908 in New Zealand. She studied at the Auckland Teachers' Training College and taught in several native schools including Horoera Native School and Pipiriki Native School. Later she started writing, starting with "Teacher," a book about teaching schemes and followed by "Incense to Idols," "Bell Call," and "Greenstone." Also, her travels to various places are mentioned
Joe Warner
No full textJoe Warner, the author of Biscuits and 'Taters, at the Manatee Historical Commission booth at the 1983 Manatee County Fair
Joe Warner with framed Historical photos
No full textAuthor and Historical Society member Joe Warner poses with his framed historical photos of the early Florida cow hunter era. [Source: Warner papers, Eaton Florida History Collection
Warner B. Ragsdale papers
No full textWarner B. Ragsdale (1898-1986) was a reporter, editor, and author interested mainly in politics. Throughout his career Ragsdale held positions with numerous news organizations including the Associated Press and U.S. News and World Report. The collection documents Ragsdale's career as editor and writer on the political scene through reference files, interview transcripts, manuscripts, notebooks, publications, and photographs
Sylvia Townsend Warner and Peter Pears: Loss and Friendship
No full textThis article describes the friendship between Sylvia Townsend Warner, Peter Pears and Benjamin Britten in the 1970s. It draws on previously unpublished correspondence held at the Britten-Pears Archive and the Sylvia Townsend Warner and Valentine Ackland Archive. It describes the role that John Craske’s paintings played in establishing the connection between Warner and Pears, details some visits and covers Britten’s illness and death. The article also describes the concert in Warner’s honour planned by Pears and given in Aldeburgh in July 1977
Face-maker : the negotiation between screen performance, extra-filmic persona and conditions of employment within the career of Peter Lorre
No full textPeter Lorre often described his acting as merely "face-making". This disparaging attitude is
reflected within critiques which read the life of Peter Lorre as a tragic narrative of wasted
opportunities and his career as a screen performer as restricted by the nature of his
employment in studio-era Hollywood. Working in the United States, he was unable to escape
from the notoriety of his first major role in the German film, M (1931), or from the murderous
persona that evolved from his portrayal of a psychopathic serial killer. His status as an emigre
positioned him as a European "artist" whose talent was misused by American filmmaking
practices which typecast the actor in line with his nefarious public image.
This thesis proposes to investigate the accuracy of these perceptions which approach the actor
via a binary split between "person" and "persona". It will offer an alternative methodology for
analysing the career of the screen actor which recognises that persona-based analyses can
obscure complex negotiations between performance, image and the conditions of employment.
Rather than attempting to reveal the "real" Peter Lorre behind the image, the context of Lorre's
mutable position as an employee within the Hollywood industry and the misconstrued
association between his screen labour and his public persona will be examined. The creative
agency of the actor will also be examined in order to question Lorre's definition of himself as
"face-maker" whose work was reliant upon performative gimmicks.
This alternative approach to the screen actor will be pursued through a chronological
investigation of Lorre's professional labour. Also necessary are an exploration of the features of
Lorre's persona and an understanding of the role played by other media in the construction of
this public image. My methodology will combine close textual analysis of Lorre's screen
performances, archival research into the terms of his employment and extensive analysis of
promotional discourses pertaining to the actor throughout his career.
My historiography of Lorre will consider the relationship between the actor and a number of his
employers to suggest that conditions of employment help to shape screen performance. Lorre's
status as a "face-maker" will also be challenged through a demonstration of the actor's use of
complex performative techniques within his film work. This thesis will demonstrate the limitations
of interpreting Lorre's career as Hollywood's mismanagement of a problematic performer.
Instead, his career can be considered indicative of industrial strategies that exist between acting
labour, promotional personas and employers. One consequence of my research is the reevaluation
of Lorre's persona as "extra-filmic" and his career as "transmedial". As such, this
thesis highlights how the significant labour of a screen performer can potentially become
superseded by the personas used by employers to promote actors away from the cinema
screen
[Letter] [c. 1873] 13th, Elmira [to] Warner / Saml L. Clemens.
No full textSee also additional letters in the collection from Twain.Twain tells Warner that the "surplusage" in the contract of "about 600 pages" is unnecessary; he instructs Warner to tell Bliss to take it out, and amend the contract to state that they will provide him with the manuscript for _The Gilded Age_. He states that he and "Livy" are a little rusty as the baby was sick and kept them up "seven tenths of the night." In a postscript, Twain tells Warner that the sensational Lackland is "perhaps better suited to the stage than a book." The recipient of the letter, Charles Dudley Warner, was Twain\u27s co-author for his satirical _The Gilded Age_ (1873). Novelist, essayist, lecturer, prospector, river pilot, and journalist, Samuel Langhorne Clemens used the pseudonym "Mark Twain," a river pilot\u27s catchphrase for measuring depth. His boyhood and early apprenticeship as a river boat pilot on the Mississippi provided much of the background for his most well-known works _The Adventures of Tom Sawyer_ (1876) and _The Adventures of Huckleberry Finn_ (1884)
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