114,453 research outputs found
Interview with Joe G. Warner
No full textMr. Warner discusses his family background, growing up in Palma Sola, and cattle raising in early 20th century Manatee County
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 G Warner in Gilbert's skiff
No full textEarly transportation on the Manatee River. This little double-end skiff was used by Gilbert S. Warner to sail weekly from Palma Sola to Egmont Key where he worked on construction. Joe G. Warner is sitting in the boat
"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)
Joe Warner shows off his Horse Greasy to Mrs. G S Warner and her grandson
No full textJoe G. Warner shows off his cattle horse, named Greasy, to Mrs. G. S. Warner and her grandson Charles Mulloy. Joe, a long time Manatee County "cowman", as they were properly called, in 1980 wrote and published Biscuits and 'Taters: a history of cattle ranching in Manatee County. He and his wife Elizabeth Crews "Libby" Warner worked together to write the 1986 book; The Singing River: a history of the people, places and events along the Manatee River
Warner Home
No full textThe home of Joe G. Warner, located east of Bradenton on Route 64 approximately 8 miles from Bradenton.Photograph furnished by Joe Warner
Joe Warner with Catch of Redfish
No full textManatee County cattleman and author Joe G. Warner with a catch of redfish which he caught in the Manatee River. That was "back when the fishing was good", he later said
Pamela Gibson and Joe G Warner at Duette
No full textPamela Gibson and Joe G. Warner at Duette. Both were members of the Manatee County Historical Commission and Board members of the Manatee County Historical Society. They are sitting at a picnic table at the Duette School
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
- …
