Mihaela Moscaliuc

Total Page:16

File Type:pdf, Size:1020Kb

Mihaela Moscaliuc ABSTRACT Title of dissertation: TRANSLATING EASTERN EUROPEAN IDENTITIES INTO THE AMERICAN NATIONAL NARRATIVE Mihaela Diana Moscaliuc, Doctor of Philosophy, 2006 Dissertation directed by: Professor Sangeeta Ray Department of English The purpose of this study is two-fold: to examine the absence from current cultural studies on immigration and ethnicity of the Eastern European American as a conceptual entity, and to propose and implement a new methodology of reading immigrant autobiographical narratives that seeks to make transparent the cultural and linguistic processes of translation through which immigrants negotiate their identities in America. Part I provides the methodology and contextual framework I employ in the re-examinations of Mary Antin’s The Promised Land (1912) and Eva Hoffman’s Lost in Translation (1989). The historical contextualization focuses on two periods that determined conceptual shifts— the two decades of anti-immigration sentiment that led to the Immigration Acts of 1921 and 1924, and the decades following World War II, when post-Holocaust consciousness opened the door to the institutionalization of a Jewish identity that both encompassed and effaced the Eastern European one at the same time that Cold War politics hindered the development of an Eastern European immigrant space of articulation. A brief analysis of Flannery O’Connor’s story “The Displaced Person” (1954) will underscore the dominant culture’s difficulty in conceptualizing Eastern European difference and its place in the American national narrative. After arguing for the need that we differentiate between immigrant and ethnic narratives, I introduce the concept of “palimpsestic translation” and develop a critical paradigm that weds translation theory to the genre of immigrant autobiography and to narratives of immigration at large. Parts II and III contribute to the reconceptualization and partial reconstitution of the Eastern European immigrant American space through a close re-examination of Antin’s and Hoffman’s immigrant narratives as “palimpsestic translations.” The two analyses address issues of historicity, literary and historical visibility, and translatability, as they pertain to and illuminate each text. The conclusion briefly assesses the status of Eastern European American studies and outlines the contribution of my proposed reading paradigm to the resuscitation of a critical and theoretical interest in Eastern European American identities. Finally, I situate my study within the larger call for a reconsideration of the relationship between Translation Studies, American and Cultural Studies, and Ethnic Studies. TRANSLATING EASTERN EUROPEAN IDENTITIES INTO THE AMERICAN NATIONAL NARRATIVE by Mihaela Diana Moscaliuc Dissertation submitted to the Faculty of the graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2006 Advisory Committee: Professor Sangeeta Ray, Chair Professor Sheila Jelen Professor Marilee Lindemann Professor Peter Mallios Professor Donald Pease Professor Vladimir Tismaneanu @Copyright by Mihaela Diana Moscaliuc 2006 Acknowledgments I am grateful to my committee members for their assistance and guidance, to the Dartmouth Summer Institute for the Futures of American Studies—and to Professor Donald Pease in particular—and, most of all, to my Romanian and American families, friends, and mentors, without whose encouragement and belief in me this work would not have been completed. A million thanks to my husband, Michael, for his love, trust, and unconditional support. TABLE OF CONTENTS Acknowledgements ii Part I 1. Toward a historicized reading of the Eastern European 1 immigrant space Translating eugenics in the language of American exceptionalism 8 Cultural and ideological paradigms of othering 26 2. The Eastern European immigrant Other in the American literary 31 imagination: the Displaced Person 3. On sustaining distinctions between immigrant and ethnic literature 44 4. Immigrant narratives as palimpsestic translations 55 Theorizing the palimpsestic translation 59 Rethinking source-text validation in translation theory and practice 66 Translation as divestment of agency and tool for Americanization 75 Part II Mary Antin: domesticating translation as Americanization 88 “America is no Polotzk”: autobiographical articulations in translation 106 Translating the “I”: dreaming in private English, de-translating national 121 statistics Epistolary Negotiations: “Everything I write is autobiography” 139 Foreignizing attempts: (dis-)gendered and (de-)ethniticized translations 148 Appendix: Anzia Yezierska 161 Part III Un-cursing Columbus: Eva Hoffman and the post-modern domesticating 166 translation “Mind the Gap”: translating the Cold War Other 184 Translating cultural negative capabilities 195 Double-voiced in-betweenness and bicultural triangulations 204 Cultural untranslatability: hypothetical equivalencies 214 Domesticating the site of difference 226 Appendix: Andrei Codrescu 232 Conclusion 238 iii References 249 PART I 1. Toward a historicized reading of the Eastern European immigrant space Although America has never extended its direct domination to Eastern Europe, its imperialist projects and international politics remain intimately intertwined with the fate of Eastern Europe in the 20th century. Literary representations and self-representations of Eastern European immigrants in America—as they emerge from immigration narratives and other literary texts—insist on the existence of such an inextricable connection. Besides offering the usual imaginative pleasures, these autobiographical and fictional characters illuminate, re- enact, and disguise some of the historical and political dialogues (or lack thereof) between the two trans-Atlantic spaces. Often regarded by historians and other scholars as “third world” in terms of economy and governance, conferred an exclusive “second world” slot in the nomenclature of World Power, yet deemed dangerous and impenetrable by the first world, the communist Eastern Europe functioned, during the Cold War, as a transferable metaphor, serving to invoke any number of sentiments from anxiety and pity to scorn and fear. When deployed in contexts that examine the reverberations of imperialism and colonialism, the term “Europe” manages to co-opt and at the same time discount the region that approximates South-East and Central Europe.1 One of 1 This space will be referred to as “Eastern Europe” throughout this study. Although the qualification “Eastern” is somewhat of a misnomer, as it blurs the geographical and political distinctions between East, South, and Central Europe, I will adopt it for one other reason besides its convenient conciseness: it encapsulates popular conceptualizations of this space from a Western perspective. In Inventing Eastern Europe: The Map of Civilization on the Mind of the Enlightenment (Stanford: iv the most deficient deployments of the Eastern European space takes place in Postcolonial discourses. Postcolonial scholars neglect to acknowledge the complications arising when Eastern Europe is included—even if inadvertently— within the concept of “Eurocentrism.” Thus, Eastern Europe is misguidedly ascribed to the same Eurocentric space from which imperialism and colonialism emerged, and which current theories have turned into a generative site of contestation. By using “Europe” indiscriminately, cultural theorists and other scholars inscribe Eastern European non-imperialist histories onto a homogenized image of Europe as part of the imperial West. Eastern European countries, this facile equation implies, engaged in processes of conquest and cultural domination just as their Western counterparts did. Scholars might not mean to make this claim. In fact, if brought to task, many would probably agree that Eastern Europe’s experience with imperialism, internal colonization, and the Cold War place it at the periphery of, or outside Eurocentrism. Most likely, Eastern Europe is not even conjured in these scholars’ minds when they refer to “Europe.” The second world2 figures as a negligible variable, a space that, in being neither center, nor margin, has not “earned” Stanford University Press, 1994), Larry Wolff argues that while during the Renaissance the division of Europe had been between the south and the north, the Enlightenment produced a conceptual re-arrangement of Europe along East-West coordinates, with the Ottoman Empire lands, which were deemed backward and uncivilized, as “Eastern”. Americans too use the term to iterate the dichotomic relation between East and West, in which the former has been construed as primitive, traditional, communist, and generally peripheric, and the latter as modern, liberal, capitalist and central. The term “Eastern Europe” is itself an exonym, for its constituent peoples never refer to themselves by that name. 2 Originally, the “first world” and “second world” were constructed as bi-polar categories that reflected the division of power between the industrialized capitalist world (led by the United States) and the industrialized communist world (led by the Soviet Union); the “third world,” a term coined by the French demographer Alfred Sauvy in 1953, designated countries and peoples non-aligned with either country and its sphere of influence, and who were subject to poverty and exploitation. Since the fall of the communist regimes, historians and other scholars have engaged in numerous debates regarding the notion of “second world,” which seems
Recommended publications
  • Sentence Overturned for Centralia Gang Member Who Was Sent to Prison for 92 Years at Age 16 Shooting Sentence Shattered
    Tenino Mayor Now the Subject of Investigation Following Alleged Sexual Activity in City Vehicle / Main 5 $1 Midweek Edition Thursday, Sept. 20, 2012 Reaching 110,000 Readers in Print and Online — www.chronline.com Cofee cups are seen in one of Ron Gaul’s cofee-stained paintings at the Morgan Art Centre in Toledo on Monday evening. See more in today’s Life: A&E. Pete Caster / [email protected] Two Local Women Charged Following Death of Intoxicated 16-Year-Old Chehalis Boy / Main 4 Sentence Overturned for Centralia Gang Member Who Was Sent to Prison for 92 Years at Age 16 Shooting Sentence Shattered Left: Guadalupe Solis- Diaz Jr., convicted for 2007 drive-by shooting in downtown Centralia DRIVE-BY Man make an appearance in a Lewis County courtroom after the Convicted for 2007 Washington Court of Appeals ‘‘Underwood failed to make ‘reasonable Drive-By Shooting to be ruled that his 92-year sentence efforts’ at advocating for his client during was unconstitutional and that his Resentenced legal representation during his sentencing ... Underwood did not to inform By Stephanie Schendel sentencing was “constitutionally deficient.” the court of a number of important factual [email protected] Guadalupe Solis-Diaz Jr. was and procedural considerations.’’ The former Centralia High 16 when he sprayed bullets along School student convicted for the the east side of Tower Avenue in Above: Michael Underwood, court 2007 drive-by shooting in down- according to unpublished opinion of the Washington State Court of Appeals appointed attorney for
    [Show full text]
  • Generic Affinities, Posthumanisms and Science-Fictional Imaginings
    GENERIC AFFINITIES, POSTHUMANISMS, SCIENCE-FICTIONAL IMAGININGS SPECULATIVE MATTER: GENERIC AFFINITIES, POSTHUMANISMS AND SCIENCE-FICTIONAL IMAGININGS By LAURA M. WIEBE, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy McMaster University © Copyright by Laura Wiebe, October 2012 McMaster University DOCTOR OF PHILOSOPHY (2012) Hamilton, Ontario (English and Cultural Studies) TITLE: Speculative Matter: Generic Affinities, Posthumanisms and Science-Fictional Imaginings AUTHOR: Laura Wiebe, B.A. (University of Waterloo), M.A. (Brock University) SUPERVISOR: Professor Anne Savage NUMBER OF PAGES: vi, 277 ii ABSTRACT Amidst the technoscientific ubiquity of the contemporary West (or global North), science fiction has come to seem the most current of genres, the narrative form best equipped to comment on and work through the social, political and ethical quandaries of rapid technoscientific development and the ways in which this development challenges conventional understandings of human identity and rationality. By this framing, the continuing popularity of stories about paranormal phenomena and supernatural entities – on mainstream television, or in print genres such as urban fantasy and paranormal romance – may seem to be a regressive reaction against the authority of and experience of living in technoscientific modernity. Nevertheless, the boundaries of science fiction, as with any genre, are relational rather than fixed, and critical engagements with Western/Northern technoscientific knowledge and practice and modern human identity and being may be found not just in science fiction “proper,” or in the scholarly field of science and technology studies, but also in the related genres of fantasy and paranormal romance.
    [Show full text]
  • THE PHILOSOPHY of STEVEN SODERBERGH the Philosophy of Popular Culture
    THE PHILOSOPHY OF STEVEN SODERBERGH The Philosophy of Popular Culture Th e books published in the Philosophy of Popular Culture series will illuminate and explore philosophical themes and ideas that occur in popular culture. Th e goal of this series is to demonstrate how philosophical inquiry has been reinvigorated by increased scholarly interest in the intersection of popular culture and philosophy, as well as to explore through philosophical analysis beloved modes of entertainment, such as movies, TV shows, and music. Philosophical concepts will be made accessible to the general reader through examples in popular culture. Th is series seeks to publish both established and emerging scholars who will engage a major area of popular culture for philosophical interpretation and examine the philosophical underpinnings of its themes. Eschewing ephemeral trends of philosophical and cultural theory, authors will establish and elaborate on connections between traditional philosophical ideas from important thinkers and the ever-expanding world of popular culture. Series Editor Mark T. Conard, Marymount Manhattan College, NY Books in the Series Th e Philosophy of Stanley Kubrick, edited by Jerold J. Abrams Football and Philosophy, edited by Michael W. Austin Tennis and Philosophy, edited by David Baggett Th e Philosophy of the Coen Brothers, edited by Mark T. Conard Th e Philosophy of Film Noir, edited by Mark T. Conard Th e Philosophy of Martin Scorsese, edited by Mark T. Conard Th e Philosophy of Neo-Noir, edited by Mark T. Conard Th e Philosophy of Horror, edited by Th omas Fahy Th e Philosophy of Th e X-Files, edited by Dean A.
    [Show full text]
  • Copyright by Gregory Scott Brown 2004 the Dissertation Committee for Gregory Scott Brown Certifies That This Is the Approved Version of the Following Dissertation
    Copyright by Gregory Scott Brown 2004 The Dissertation Committee for Gregory Scott Brown Certifies that this is the approved version of the following dissertation: Coping with Long-distance Nationalism: Inter-ethnic Conflict in a Diaspora Context Committee: Gary P. Freeman, Supervisor John Higley Zoltan Barany Alan Kessler Ross Terrill Coping with Long-distance Nationalism: Inter-ethnic Conflict in a Diaspora Context by Gregory Scott Brown, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2004 Dedication To Dale Acknowledgements Many people helped me finish this dissertation and deserve thanks. My advisor, Gary Freeman, provided guidance, encouragement, and a helpful prod now and again. I owe him a special debt for his generous support and patience. Special thanks are also due John Higley who provided personal and institutional support throughout the process—even when he had neither the time nor obligation to do so. I also thank the other members of my dissertation committee, Ross Terrill, Alan Kessler, and Zoltan Barany. Each of them offered sound advice and counsel during my fieldwork and the writing phase of this project. I also benefited greatly from numerous funding programs; including, the Edward A. Clark Center for Australian and New Zealand Studies, the Australian and New Zealand Studies Association of North America, and various funding sources in the Department of Government, UT-Austin. My fieldwork was also facilitated by generous support from the Australian Centre at Melbourne University and the Parliamentary Internship/Public Policy program at the Australian National University.
    [Show full text]
  • '"There's More Than One of Everything": Navigating Fringe's Cofactual Multiverse'
    . Volume 13, Issue 1 May 2016 ‘There’s More Than One of Everything’: Navigating Fringe’s cofactual multiverse Casey J. McCormick, McGill University, Montréal, Canada Abstract: This article analyzes how viewers of Fringe (FOX 2008-2013) make sense of the series’ complex science fictional storyworld. It argues that Fringe presents multiple iterations of worlds and characters in a way that encourages ‘cofactual’ interpretation: rather than figuring parallel universes and alternate timelines as ontologically hierarchical, the narrative accommodates all versions of reality and invites viewers to participate in shaping the multiverse. The article offers a close reading of Fringe’s complex narrative structure alongside an exploration of how audiences responded to and impacted the series through fannish practices such as vidding and narrative mapping. It concludes that cofactual narration opens up an array of participatory practices that blur the text/paratext distinction and facilitate interactive storyworld building. Keywords: Complex TV, Fandom, Narrative, Paratexts, Counterfactual, Cofactual, Possible Worlds Cofactual Interpretation By the time viewers reach the series finale of Fringe (FOX 2008-2013), they have travelled across two spatially-distinct universes, three versions of the future, and at least four different timelines, with each world-iteration populated by different versions of the show’s central characters. Through its reinvigoration of science fiction tropes, such as time travel, alternate realities, and temporal resets, Fringe asks viewers to re-evaluate typical models of narrative world-building. The series constructs a multiverse comprised of what I deem cofactual diegetic worlds. I use the term ‘cofactual’ in contradistinction to the more common narrative term ‘counterfactual’ as a means of emphasizing the plurality and simultaneity of diegetic worlds in Fringe.
    [Show full text]
  • Sample Pages
    About This Volume James Plath Critical Insights: Casablanca contains fourteen essays from pop FXOWXUHVFKRODUVDQG¿OPFULWLFVDORQJZLWKLQWURGXFWRU\HVVD\VRQ WKH ¿OP LWV GLUHFWRU DQG D UHVRXUFH VHFWLRQ FRQWDLQLQJ D JHQHUDO ELEOLRJUDSK\ GLUHFWRU¶V FKURQRORJ\¿OPRJUDSK\ FDVW OLVW DZDUGV and honors, and the volume’s contributors … to whom I am grateful. Casablanca has received both popular and critical acclaim over the years, and in that spirit Critical Insights: Casablanca is LQWHQGHGDVERWKDFRPSDQLRQIRUVHULRXV¿OPIDQVDQGDUHVRXUFH for students and scholars. No single volume on any movie can be FRPSOHWHEHFDXVHWKHEHVW¿OPV²WKHclassic¿OPV²DOZD\V\LHOG up things to say, year after year. Not surprisingly, much has been written already about CasablancaDVWKHELEOLRJUDSK\DWWHVWV7KH essays contained in this volume add to the critical “conversation” in, I hope, provocative ways. Some overlapping is unavoidable, but LQGLYLGXDOO\WKHVHHVVD\VDSSURDFKWKH¿OPIURPGLIIHUHQWDQJOHV collectively they help to explain why Casablanca is so highly UHJDUGHG²VWLOORUGHVSLWHLWVÀDZV²DQGZK\LWZLOOOLNHO\UHPDLQ so. Certain themes begin to resonate among the essays, as contributors consider whether Casablanca was, in fact, the “happiest of happy accidents” that critic Andrew Sarris posited and try to LGHQWLI\WKHUHDVRQVIRULWVVXFFHVV7KHLVVXHRIDXWHXULVPFRPHV up a number of times, with varying opinions over the amount of credit due director 0LFKDHO&XUWL]²WKRXJKQRQHRIWKHFRQWULEXWRUV GLVSXWHVWKH¿OP¶V²RU&XUWL]¶V²JUHDWQHVV ,Q KHU HVVD\ RQ ³7LSV RI WKH +DW 7KH &ULWLFDO 5HVSRQVH to Casablanca´ %UHQQDQ 0 7KRPDV QRWHV WKDW Casablanca SHUIRUPHGZHOODWWKHER[RI¿FHSDUWO\EHFDXVHRIIRUWXLWRXVWLPLQJ Early reviewers remarked that :DUQHU %URV ZDV HLWKHU OXFN\ RU SUHVFLHQWJLYHQWKDWWKH¿OP¶VSUHPLHUHFDPHOHVVWKDQWKUHHZHHNV after Casablanca, Morocco, was captured by Allied forces and the vii ¿OP¶VVXEVHTXHQWZRUOGZLGHUHOHDVHFRLQFLGHGZLWKWKH&KXUFKLOO Roosevelt meetings in Casablanca. But timing wasn’t everything.
    [Show full text]
  • TV Finales and the Meaning of Endings Casey J. Mccormick
    TV Finales and the Meaning of Endings Casey J. McCormick Department of English McGill University, Montréal A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Casey J. McCormick Table of Contents Abstract ………………………………………………………………………….…………. iii Résumé …………………………………………………………………..………..………… v Acknowledgements ………………………………………………………….……...…. vii Chapter One: Introducing Finales ………………………………………….……... 1 Chapter Two: Anticipating Closure in the Planned Finale ……….……… 36 Chapter Three: Binge-Viewing and Netflix Poetics …………………….….. 72 Chapter Four: Resisting Finality through Active Fandom ……………... 116 Chapter Five: Many Worlds, Many Endings ……………………….………… 152 Epilogue: The Dying Leader and the Harbinger of Death ……...………. 195 Bibliography ……………………………………………………………………………... 199 Primary Media Sources ………………………………………………………………. 211 iii Abstract What do we want to feel when we reach the end of a television series? Whether we spend years of our lives tuning in every week, or a few days bingeing through a storyworld, TV finales act as sites of negotiation between the forces of media production and consumption. By tracing a history of finales from the first Golden Age of American television to our contemporary era of complex TV, my project provides the first book- length study of TV finales as a distinct category of narrative media. This dissertation uses finales to understand how tensions between the emotional and economic imperatives of participatory culture complicate our experiences of television. The opening chapter contextualizes TV finales in relation to existing ideas about narrative closure, examines historically significant finales, and describes the ways that TV endings create meaning in popular culture. Chapter two looks at how narrative anticipation motivates audiences to engage communally in paratextual spaces and share processes of closure.
    [Show full text]
  • Asfacts Apr13.Pub
    ASFACTS 2013 APRIL “D RY & W INDY ” S PRING ISSUE Key, Vol. 5: Clockworks by Joe Hill, Grandville Bête Noire by Bryan Talbot, Schlock Mercenary: Random Access Memorabilia by Howard Tayler, or Saga, Volume One by Brian K. Vaughn. BEST DRAMATIC PRESENTATION – LONG: NM A UTHORS & B UBONICON FRIENDS The Avengers, The Cabin in the Woods, The Hobbit: An Unexpected Journey, The Hunger Games or Looper . AMONG 2013 H UGO NOMINEES BEST DRAMATIC PRESENTATION – SHORT: Doc- tor Who “The Angels Take Manhattan,” Doctor Who Nominees, including friends of Bubonicon, for the “Asylum of the Daleks,” Doctor Who “The Snowman,” Hugo Awards and for the John W. Campbell Award for Fringe “Letters of Transit,” Game of Thrones Best New Writer have been announced March 30 by “Blackwater” (written by GEORGE RR M ARTIN , regular LoneStarCon3, the 71st World Science Fiction Conven- Bubonicon participant). tion, to be held in San Antonio, TX, August 29- BEST PROFESSIONAL EDITOR – LONG FORM: September 2. Lou Anders, Sheila Gilbert, Liz Gorinsky, Patrick Niel- BEST NOVEL: Throne of the Crescent Moon by sen Hayden or Toni Weisskopf. BEST PROFES- Saladin Ahmed, Captain Vorpatril’s Alliance by Lois SIONAL EDITOR – SHORT FORM: John Joseph Ad- McMaster Bujold, Blackout by Mira Grant, 2312 by Kim ams, Neil Clarke, Stanley Schmidt, Jonathan Strahan or Stanley Robinson, or Redshirts by John Scalzi. BEST Sheila Williams. BEST PROFESSIONAL ARTIST: NOVELLA: On a Red Station, Drifting by Aliette de Vincent Chong, Julie Dillon, Dan Dos Santos, Chris Bodard, San Diego 2014: The Last Stand of the Califor- McGrath or JOHN PICACIO (Bubonicon 43 guest artist).
    [Show full text]
  • Zusas Occasional Papers
    ZUSAS OCCASIONAL PAPERS Herausgegeben vom Zentrum für USA-Studien der Martin-Luther-Universität Halle-Wittenberg Heft 5 WERNER SOLLORS “Making America”: On A New Literary History of America Halle (Saale): Zentrum für USA-Studien, 2011 Bibliographische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Daten sind im Internet über http://dnb.d-nb.de abrufbar. ZUSAS Occasional Papers ISSN 1867-2191 Sollors, Werner. “Making America”: On A New Literary History of America. Layout: Carsten Hummel © 2011 Zentrum für USA-Studien der Martin-Luther-Universität Halle-Wittenberg 06099 Halle (Saale) Germany http://www.zusas.uni-halle.de Druck: Reprocenter GmbH Halle (Saale) 5 “Making America”: On A New Literary History of America 1 The number of people who have read a single literary history from cover to cover may be smaller than the number of literary histories that have been published. In the nineteenth and twentieth centuries, such histories became popular, providing information about the lives, works, reception, and influ- ence of single authors, facts that were strung together chronologically in the form of long narratives that employed a limited number of available story lines, such as growth or decline, a golden age, a transitional period or a renaissance, lonely figures and literary movements, avant-garde and epigonal works, major and emergent voices, or currents and eddies coming together to form a main stream. Such reference works have been less often read than consulted by students who wanted to catch a quick glimpse of authors, works, movements, or periods in their historical contexts.
    [Show full text]
  • LETTERS Oƒ TRANSIT No
    LETTERS oƒ TRANSIT No. 1 • APRIL 2000 OCCASIONAL PAPER SERIES Sydney Tramways Handling of heavy traffic on special occasions This remarkable paper was delivered to a gathering of ■ Patrick J. Timmony, Assistant Chief Traffic Australian public transport managers on 6 February 1934. Manager, Department of Road Transport and Tramways, NSW It is important to all those who are today grappling with Sydney’s transport and planning problems because it shows A side-line to the ordinary day in and day out traffic handled by the New South Wales Tramways, which that in the inter-war years the street railway system could reaches a total of approximately 860,000 passengers rapidly and effectively move massive numbers of people to per diem, is the special traffic to the various sports and from special events in a manner that can only be grounds and surfing beaches. In this connection Syd- dreamed of today. ney is unique amongst Australian cities, for the rea- son that the most important sporting and racing are- The tramways were the key to the remarkably efficient nas, as well as the more popular bathing resorts, are people-moving systems that then existed. They had a remote from railway lines, and the major transport loading capacity midway between buses and heavy rail, but of their patrons devolves on the tramways. This re- with a dense coverage of the then-existing metropolitan mark applies to the Royal Agricultural Society’s area and the ability to run at much greater frequency than Ground, which, during the Easter period when the heavy rail.
    [Show full text]
  • 0. Sollorscv2013
    CURRICULUM VITAE WERNER SOLLORS Henry B. and Anne M. Cabot Professor of English Literature and Professor of African and African American Studies Harvard University, Barker Center, 12 Quincy Street, Cambridge, MA 02138 phone (617) 495-4113 or -4146; fax (617) 496-2871; e-mail [email protected] web: http://scholar.harvard.edu/wsollors or http://aaas.fas.harvard.edu/faculty/werner_sollors.html Chair, Department of Afro-American Studies, 1984-1987, 1988-1990; Chair, Committee on Higher Degrees in the History of American Civilization, 1997-2002; Director of Undergraduate Studies, Department of English and American Literature and Language, 1997- 2001; Chair, Ethnic Studies, 2001-2004, 2009-2010; Director of Graduate Studies, Department of African and African American Studies, 2005-2007, 2009-2010; Voting faculty member in Comparative Literature Department; Service as Mellon Faculty advisor; on Faculty Council; in Undergraduate Admissions; Graduate Admissions (English, American Civilization, African American Studies, and Comparative Literature); Folklore and Mythology; Core Curriculum Committee; Special Concentrations; Library Digitalization Committee; Summer School Advisory Committee; numerous senior and junior search and promotion committees EDUCATION: Goethe-Gymnasium Frankfurt, Freie Universität Berlin, Wake Forest College, Columbia University DEGREE: Dr. phil.: Freie Universität Berlin, 1975 PAST TEACHING EXPERIENCE: Assistant and Associate Professor of English and Comparative Literature, Columbia University Wissenschaftlicher Assistent und Assistenzprofessor, John F. Kennedy-Institut, Freie Universität Berlin Visiting professor at München, Berlin, Bern, Hebrew University Jerusalem, La Sapienza Rome, Università degli Studi di Venezia (chiara fama chair), Nanjing Normal University, and Global Professor of Literature at New York University Global Network University, Abu Dhabi HONORS: Dissertation and Dr. phil., summa cum laude, Berlin 1975; Andrew W.
    [Show full text]
  • Movement SF and the Picaresque Robert Glen Wilson University of Arkansas, Fayetteville
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2014 You Can't Get There from Here: Movement SF and the Picaresque Robert Glen Wilson University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the American Literature Commons, and the Modern Literature Commons Recommended Citation Wilson, Robert Glen, "You Can't Get There from Here: Movement SF and the Picaresque" (2014). Theses and Dissertations. 2337. http://scholarworks.uark.edu/etd/2337 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. You Can’t Get There from Here: Movement SF and the Picaresque You Can’t Get There from Here: Movement SF and the Picaresque A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English By Robert G. Wilson Campbellsville University Bachelor of Arts in English and History, 1999 Western Kentucky University Master of Arts in American Literature, 2002 May 2014 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. ______________________________________ Dr. M. Keith Booker Dissertation Director ______________________________________ ____________________________________ Dr. Robert Cochran Dr. William A. Quinn Committee Member Committee Member ABSTRACT This dissertation examines the crisis of authenticity in postmodern culture and argues that contemporary science fiction, specifically the subgenre of Movement SF, has evolved a unique answer to this crisis by adopting, perhaps spontaneously, the picaresque narrative structure.
    [Show full text]