185,980 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
Floreine
No full textGift of Dr. Mary Jane Esplen.Piano. [instrumentation]G major [key]Ragtime music/Waltz [form/genre]Portrait of Ernest J. Schuster. [illustration]Warner C. Williams & Co., Indianapolis. [dealer stamp]Publisher's advertisement on back cover. [note
Log building and tent encampment at Sheep Camp showing Klondikers with pack trains and supplies, Chilkoot Trail, probably between 1898 and 1899
No full textAfter gold was discovered in the Yukon Territory, thousands of people left for the Klondike to join in the gold rush in the Summer of 1897.
Caption on image: Arthur C. Warner. 309
On verso of image: Sheep Camp. A.C. Warner, Photographer, Seattle, Wash., 707 12th Ave. Skaguay, Dyea, Chilkoot Pass.
Warner [2159]
PH Coll 273.54
[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)
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
2nd Ave. looking south from Columbia St., Seattle, probably between 1903 and 1910
No full textShows the Boston Block and the New York Block on the left. The Hinckley Block is on the right.
Caption on image: LH 247.
A. C. Warner worked for the Lowman and Hanford Stationery and Printing Company from about 1903 to 1910.
Handwritten on verso: 2nd Ave S from Columbia.
Warner [3030]
PH Coll 273.1
Seattle, looking east on Cherry St. from 1st Ave. showing the Alaska Building, Seattle, probably between 1904 and 1910
No full textThe Alaska Building on the corner of Cherry St. and 2nd Ave. was constructed in 1904.
A. C. Warner worked for the Lowman and Hanford Stationery and Printing Company from about 1903 to 1910.
Caption on image: LH 271.
Handwritten on verso: Looking east on Cherry from 1st.
Warner [3121]
PH Coll 273.2
1st Ave. looking north from Cherry St., Seattle, probably between 1903 and 1910
No full textCaption on image: LH 309.
Handwritten beneath image: First Ave. from Cherry St.
Buildings on the left include the Washington Building, Union Block, Postal and Telegraph Building, and the Colman Building.
Signs in image include: Lowman & Hanford Stat'y & Printing Co's.; Treen Shoe Co.; Albert Hansen's Jewelry Factory; Seattle Electric Co.
A. C. Warner worked for the Lowman and Hanford Stationery and Printing Company from about 1903 to 1910.
Warner [3023]
PH Coll 273.1
- …
