DOCSLIB.ORG

Holocaust Memoirs Through the Screen of Adaptation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Holocaust Memoirs Through the Screen of Adaptation WOUNDING SENSIBILITIES: HOLOCAUST MEMOIRS THROUGH THE SCREEN OF ADAPTATION by Jeffrey Eric Wolfson APPROVED BY SUPERVISORY COMMITTEE: ________________________________________ David Patterson, Co-Chair ________________________________________ Zsuzsanna Ozsváth, Co-Chair ________________________________________ Adrienne McLean ________________________________________ Nils Roemer Copyright 2019 Jeffrey Eric Wolfson All Rights Reserved I dedicate this work to three individuals, and may their memories be for a blessing: my grandmother, Sadie Finkelstein Wolfson; her friend, Holocaust survivor Esther Herz; and my friend, Holocaust survivor Walter Kase. תהיינה נפשותם צרורות בצרור החיים WOUNDING SENSIBILITIES: HOLOCAUST MEMOIRS THROUGH THE SCREEN OF ADAPTATION by JEFFREY ERIC WOLFSON, BA, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES - MAJOR IN STUDIES IN LITERATURE THE UNIVERSITY OF TEXAS AT DALLAS December 2019 ACKNOWLEDGMENTS I begin by thanking my supervisory committee. David Patterson and Zsuzsanna Ozsváth shared the roles of mensch and mentor. He gave fast, thoughtful, thought-provoking feedback; prodded me to argue without restraint; and fed me (with Gerri’s help!) at his family table. She drew on her experience not just as a scholar, but as a survivor-memoirist, to communicate with passion and clarity her vision of ethical parameters for Holocaust representation. Adrienne McLean’s notions were ardently expressed. Nils Roemer took an interest in my success and made a point of propping me up at times when my morale was low. My gratitude extends beyond my committee. Lourdes Molina attentively proofread chapters, Donald Firsching kindly donated his tech support wizardry, and Cheyanne Perkins and Christian Acevedo did both. The UT Dallas Ackerman Center for Holocaust Studies awarded me its Belofsky Fellowship and an earlier scholarship. UT Dallas Arts and Humanities awarded me a scholarship and also provided me with a travel grant to a conference. The Texas Holocaust and Genocide Commission funded travel to other conferences. The Modern Language Association and the American Comparative Literature Association provided forums for me to present early drafts of chapters and to gain helpful feedback. I received valuable, seemingly countless hours of professional development from the United States Holocaust Memorial Museum, Facing History and Ourselves, the Jewish Foundation for the Righteous, Yad Vashem’s Echoes and Reflections, Chabad’s Beyond Never Again, the Anti-Defamation League, Holocaust Museum Houston, the Dallas Holocaust Museum, the El Paso Holocaust Museum, the San Antonio Holocaust Museum, v the USC Shoah Foundation, the Association of Holocaust Organizations, and The Scholars’ Conference on the Holocaust and the Churches. I thank my parents, Linda and Howard, who paved my way for this journey, and whose love is appreciated and returned. Even from across the country, they make me feel lucky. Rabbi Daniel Millner taught me and cared about my progress inside and outside of shul. Other relatives and friends, as well as colleagues and students, supported me by bringing laughter. To their everlasting credit, I still have hair that is not torn out, even if they could not prevent its graying. I thank the survivors who chose to present firsthand accounts of the Shoah to people who were not always eager to receive them. Controversies surrounding Fania Fénelon’s memoir and its telefilm adaptation planted the seeds of my interest in Holocaust memoir adaptation. Several survivors wrote memoirs that comprise the starting point of this study and are named therein. Gerda Weissmann Klein, Nechama Tec, and other survivor-memoirists were encouraging when I met them. And then there were survivors who carried testimonies that never appeared in memoirs. My grandmother’s friend, Esther Herz of New Jersey, was the first person I knew to be a survivor. Her story includes the betrayal by neighbors who had hidden her, the desperate escape on a bicycle through guarded city streets while holding her baby daughter, and the loss of her husband and only son to the murderers. Maybe she would have recorded her experiences, were it not for the Alzheimer’s that afflicted her later years. Her live-in nurse had little success in calming the confused and tearful woman whenever frequent panic attacks convinced her that the Nazis were coming for all of us. Decades after “liberation” and up until her death, the scenario of Nazis still on the hunt became her only surviving perception of reality. By contrast, Walter Kase vi of Texas always remained lucid in proclaiming his mission to testify. As a friend of his daughter and son-in-law, and as his grandson’s teacher, I was truly fortunate to get to know him. Among the nightmares he revealed are the final cries of his little sister, Rysia, who was executed in front of him and their parents, and the horror of being in a camp, where the SS singled him out for his youth and small stature to assist in hangings of his fellow inmates. Audiences were moved by his tears, elocution, style, and charisma until, to our great sadness, we lost him in 2015. Holocaust survivors’ wounding accounts still matter. In this light, I also thank a select number of adapters for their daring and imaginative efforts to use filmic language to tell us so. October 2019 vii WOUNDING SENSIBILITIES: HOLOCAUST MEMOIRS THROUGH THE SCREEN OF ADAPTATION Jeffrey Eric Wolfson, PhD The University of Texas at Dallas, 2019 Supervising Professors: Dr. David A. Patterson, Co-Chair Dr. Zsuzsanna Ozsváth, Co-Chair This dissertation looks at what is gained and what is lost, especially on an ethical level, when literary memoirs about the Holocaust are adapted into films. It asserts that the key features of Holocaust memoirs inevitably complicate the process of adaptation by imposing ethical limitations on what filmmakers should cut from or add to their source material. Yet, for a variety of reasons, primarily commercial and aesthetic, most adapters have sought to soften, thwart, or altogether eliminate essential elements of the memoirs. That is, most film adaptations find ways to avoid transmitting the parts of the books that most graphically and directly speak to the cruelty of the Nazi assault on the ethical imperative and what was thereby annihilated. By making changes to avoid the wounding of audience sensibilities, adapters effectively minimize and deny the evil of the Nazis’ systematic torture and mass murder of Jews, and sometimes even blame the victims for their own suffering and that of others. Such a displacement of the survivors’ expressed points of view gives Nazism a convenient cover—and a voice—in our time and amounts to no less than Holocaust denial. Drawing on the scholarship of Elie Wiesel, Alvin Rosenfeld, Lawrence Langer, David Patterson, adaptation theorists, and others, this dissertation examines three source memoirs and their viii respective film adaptations side-by-side. The case studies include Agnieszka Holland’s 1991 theatrical release, Europa Europa, based on a memoir by Solomon Perel; Francesco Rosi’s 1997 theatrical release, The Truce, based on a memoir by Primo Levi; and Joseph Sargent’s 2003 cable network telefilm, Out of the Ashes, based on a memoir by Gisella Perl. Some of these adaptations display disturbing patterns regarding an ongoing, subversive promotion of the Nazi vision at the expense of survivor testimony. However, they also demonstrate that audiovisual media have a potential, though seldom fulfilled, to translate aspects of the Holocaust memoir into a cinematic or televisual language that respects the ethical parameters of the subject. At a time when few survivors are still alive to reveal their wounds, this dissertation contends that it still matters how their stories are told. ix TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................................v ABSTRACT .................................................................................................................................viii CHAPTER 1 THE HOLOCAUST AND ADAPTATION: A CASE FOR WOUNDING SENSIBILITIES .......................................................................................................1 CHAPTER 2 HOLOCAUST MEMOIRS: THE TERRIBLE PARADOX OF LIFE WRITING AFTER ONE’S OWN DEATH .............................................................................. 39 CHAPTER 3 THE JEW UNCUT: CIRCUMCISING THE SURVIVOR’S MEMORY IN EUROPA, EUROPA (1990) .................................................................................... 69 CHAPTER 4 THE JEW UNSPOKEN: COMPROMISING THE SURVIVOR’S CHARACTER IN THE TRUCE (1997) .........................................................................................109 CHAPTER 5 THE JEW UNDEFENDED: INDICTING THE SURVIVOR’S SURVIVAL IN OUT OF THE ASHES (2003) ................................................................................154 CHAPTER 6 THE JEWS UNHEEDED: SCORNING SURVIVORS’ SENSIBILITIES IN THE POST-HOLOCAUST WORLD.............................................................................197 WORKS CITED ..........................................................................................................................214 BIOGRAPHICAL SKETCH .......................................................................................................223 CURRICULUM VITAE x These prophets prophesy
Load more

Recommended publications
  • A Resource Guide to Literature, Poetry, Art, Music & Videos by Holocaust
    Bearing Witness BEARING WITNESS A Resource Guide to Literature, Poetry, Art, Music, and Videos by Holocaust Victims and Survivors PHILIP ROSEN and NINA APFELBAUM Greenwood Press Westport, Connecticut ● London Library of Congress Cataloging-in-Publication Data Rosen, Philip. Bearing witness : a resource guide to literature, poetry, art, music, and videos by Holocaust victims and survivors / Philip Rosen and Nina Apfelbaum. p. cm. Includes bibliographical references (p.) and index. ISBN 0–313–31076–9 (alk. paper) 1. Holocaust, Jewish (1939–1945)—Personal narratives—Bio-bibliography. 2. Holocaust, Jewish (1939–1945), in literature—Bio-bibliography. 3. Holocaust, Jewish (1939–1945), in art—Catalogs. 4. Holocaust, Jewish (1939–1945)—Songs and music—Bibliography—Catalogs. 5. Holocaust,Jewish (1939–1945)—Video catalogs. I. Apfelbaum, Nina. II. Title. Z6374.H6 R67 2002 [D804.3] 016.94053’18—dc21 00–069153 British Library Cataloguing in Publication Data is available. Copyright ᭧ 2002 by Philip Rosen and Nina Apfelbaum All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 00–069153 ISBN: 0–313–31076–9 First published in 2002 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America TM The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 Contents Preface vii Historical Background of the Holocaust xi 1 Memoirs, Diaries, and Fiction of the Holocaust 1 2 Poetry of the Holocaust 105 3 Art of the Holocaust 121 4 Music of the Holocaust 165 5 Videos of the Holocaust Experience 183 Index 197 Preface The writers, artists, and musicians whose works are profiled in this re- source guide were selected on the basis of a number of criteria.
    [Show full text]
  • Summer Seminar for K-12 Educators, Teaching the Holocaust Through
    Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the current Summer Seminars and Institutes guidelines, which reflect the most recent information and instructions, at https://www.neh.gov/program/summer-seminars-and-institutes-k-12-educators Applicants are also strongly encouraged to consult with the NEH Division of Education Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Teaching the Holocaust through Visual Culture Institution: Bowdoin College Project Directors: Natasha Goldman Grant Program: Summer Seminars and Institutes (Seminar for K-12 Educators) 400 7th Street, SW, Washington, DC 20024 P 202.606.8500 F 202.606.8394 [email protected] www.neh.gov Teaching the Holocaust through Visual Culture Summer Seminar for School Teachers at Bowdoin College Table of Contents Narrative 1 Intellectual Rationale 1 Program
    [Show full text]
  • Support Local Music & Arts
    Contents OCTOBER 2015 Vol. 18 # 8 THE GOODS 4 Le Beat: Who’s who and what’s happening locally 11 Rock ‘n’ Roll Moment of the month 12 11 Questions: Jan Peters 20 Calendar 32 Monthly Pin-Up: Moongrass 34 Tales from the Road: Minor Plains 35 Stuff Yer Face: Hotpoint Tea & Express SPOTLIGHTS 6 Scotty Sensei: New dimensions 7 Panda Panda Panda: 1, 2, 3, GO 8 Zion I: The resurgence 9 Crushed out: Music and marriage FEATURES 14 Katie Johnson: The face of expression 15 I Found My Friends: The Oral History of Nirvana 16 Mark Pickerel and His Helping Hands: Still screaming 18 Beats Antique: Melding performance, music and art REVIEWS NEXT ISSUE: NOV. 2015 10 Live Shows DEADLINE: Oct. 19 25 Recordings 360.398.1155 • P.O. Box 30373, Bellingham, WA 98228 www.whatsup-magazine.com • [email protected] CO-PUBLISHER/EDITOR-IN-CHIEF: Brent Cole CO-PUBLISHER/DESIGN DIRECTOR: Becca Schwarz Cole CONTRIBUTING WRITERS: Tommy Calderon, Jared Curtis, Thea Hart, Adam Walker, Mark Broyles, Jackson Main, Hayden Eller, Charlie Walentiny, Halee Hastad, Keenan Ketzner, Raleigh Davis, Aaron Apple, Aaron Kayser CONTRIBUTING PHOTOGRAPHERS: Tommy Calderon, David Johnson, Sarah Day, Ryan Russell, Aaron Brick AD SALES: Brent Cole, Victor Gotelaere DISTRIBUTION: David Johnson, Brent Cole COVER ARTIST: Katie Johnson WEB GENIUS: Django @ Seatthole SUPPORT: Harrison, Ruby, Autumn, Lulu What’s Up! is a free, independent monthly music magazine covering the Bellingham/Whatcom County scene, and is locally owned and operated by Brent Cole and Becca Schwarz Cole. What’s Up! is a member of Sustainable Connections, and a sister publication of Grow Northwest.
    [Show full text]
  • Dead Like Kurt: Surviving the Celebrity Suicide
    DEAD LIKE KURT: SURVIVING THE CELEBRITY SUICIDE “AT 27, KURT COBAIN WANTED TO DISAPPEAR, TO ERASE HIMSELF, TO BECOME NOTHING. THAT HIS SUICIDE SO UTTERLY LACKED AMBIVALENCE IS ITS MOST TERRIFYING ASPECT. IT ALL COMES DOWN TO A STILLNESS AT THE END OF A LONG CHAOS: A YOUNG MAN SITTING ALONE IN A ROOM, GETTING HIGH, WRITING HIS GOODBYES, PULLING A TRIGGER, YOU CAN IMAGINE THE SILENCE SHATTERING AND THEN COLLECTING ITSELF, IN THE WAY WATER BREAKS FOR AND THEN ENVELOPS A DIVER, ABSORBING FOREVER THE LIFE OF KURT COBAIN.” - ANTHONY DECURTIS, ROLLING STONE I’d like to be an enfant terrible, but I have no friends, and I do drugs in my room, and not at parties, like the normal people do. I do not want to be a female reader of male greats, a female writer of male greats, and even though all I do is just get raped, I don’t want to smack down a c bomb in a sentence like a dog stretching out for approval. I’m a dumb bitch, getting chased out of art house cinemas and feminist photography talks. I say I’m a genius because I’m deluded, but the places that like smart people don’t like me, and a lady said she’d scalp me if I fiddled on my phone during her short film screening, the bright light rectangle eclipsing the velvet curtains and Guardian readers. I cried and left. Thin skinned and unwanted I was asked to leave. I made a scene while the silent films sang.
    [Show full text]
  • Nirvana: the Complete Illustrated History Free
    FREE NIRVANA: THE COMPLETE ILLUSTRATED HISTORY PDF Charles Cross,Gillian G. Gaar,Bob Gendron,Mark Yarm,Todd Martens,Andrew Earles,Greg Kot,Jim DeRogatis,Alan di Perma | 192 pages | 15 Nov 2013 | Voyageur Press Inc | 9780760345214 | English | Stillwater, United States NIRVANA-THE COMPLETE ILLUSTRATED HISTORY BOOK EX | RELICS MUSIC Goodreads helps you keep track of Nirvana: The Complete Illustrated History you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — Nirvana by Charles R. Cross. Gillian G. Gaar Goodreads Nirvana: The Complete Illustrated History. Bob Gendron. Todd Martens. Andrew Earles. Greg Kot. Jim DeRogatis. Alan di Perna Goodreads Author. Nirvana formed inreleased their first LP inand unintentionally tore the music world asunder two years later with the video and single for "Smells Like Teen Spirit. Nirvana, with their thrift-store clothes and pawnshop guitars, represented a much-needed return to pu Nirvana formed inreleased their first LP inand unintentionally Nirvana: The Complete Illustrated History the music world asunder two years later with the video and single for "Smells Like Teen Spirit. Nirvana, with their thrift-store clothes and pawnshop guitars, represented a much-needed return to punk-inspired rock and at the same time validated the indie rock scene that had failed to breach the mainstream in the previous decade. A meteoric rise followed, attended by all of the predictable professional and personal pitfalls. Two and half years after the release of "Teen Spirit," leader Kurt Cobain, age 27, killed himself and the Nirvana: The Complete Illustrated History was over.
    [Show full text]
  • Surviving in Fear
    Historical Notes A Series of Publications from the Corporate History Department of the Volkswagen Aktiengesellschaft Historical Notes 3 Surviving in Fear Four Jews Describe Their Time at the Volkswagen Factory from 1943 to 1945 The authors Moshe Shen, born 1930 · Julie Nicholson, born 1922 · Sara Frenkel, born 1922 · Sally Perel, born 1925 · Susanne Urban, born 1968 Imprint Editors Volkswagen Aktiengesellschaft Corporate History Department: Manfred Grieger, Ulrike Gutzmann Translation SDL Multilingual Services Design con©eptdesign, Günter Illner, Bad Arolsen Print Druckerei E. Sauerland, Langenselbold ISSN 1615-1593 ISBN 978-3-935112-22-2 © Volkswagen Aktiengesellschaft Wolfsburg 2005 New edition 2013 Surviving in Fear Four Jews Describe Their Time at the Volkswagen Factory from 1943 to 1945 With a contribution by Susanne Urban Jewish Remembrance. Jewish Forced Labourers and Jews with False Papers at the Volkswagen Factory Susanne Urban _____ P. 6 Moshe Shen _____ P. 18 Julie Nicholson _____ P. 30 Jewish Remembrance. For Concentration Camp Inmates like us, Survival To Preserve History and Learn its Lessons is an Jewish Forced Labourers and Jews with False Papers was a Question of Time Essential Task at the Volkswagen Factory I. Forced labour at the Volkswagen factory Childhood and a strict father Sheltered childhood II. Structures of remembrance Too late to flee Arrested in Budapest III. Four lifelines Auschwitz Auschwitz The selection of prisoners for the Volkswagen factory Everyday life in Auschwitz Isolation and work on the “secret
    [Show full text]
  • Overeatingfor Funandprofit
    CHICAGO’S FREE WEEKLY | THIS ISSUE IN FOUR SECTIO NS | FRIDAY, JUNE 30, 2006 | VOL 35, NO 40 Overeatingfor Funand Profit Meet PatBertoletti, Chicago’smost gifted glutton. By KabirHamid CHICAGO READER Asmoke-free failure p 12 Abizarre arttheft Section 2 J.R. Jones on LarryClark’s Wassup Rockers p 22 Joravskyonrising property taxes (yes,theyare) p 8 ChrisWare, freshold-schoolsoulfromthe southside, Hopper on Sonic Youth, ourguide to theChicago CountryMusic Festival,and more Section One Letters 3 Reviews Movies 22 Columns Hot Type 4 Larry Clark’s Wassup Rockers What Ozzie meant Music 24 The new Sonic Youth, Lizzy Mercier The Straight Dope 5 Descloux, Lagos Chop Up Has a millionaire ever been executed in America? The Works 8 Theater 26 Time for a taxpayer revolt Franz Xaver Kroetz’s Request Programme Chicago Antisocial 10 at Trap Door Theatre If your wife won’t swap, don’t let her shop Plus What Are You Wearing? 13 Our Town 12 Dustin Senovic at City Soles June 30, 2006 A failed experiment in smoke-free drinking; habitual letter writer Brien Comerford Free Shit 16 Breakfast at the Green City Market Comic Ink Well 27 Chris Ware 17 This week’s crossword: That’s an Order ON THE COVER: PAT BERTOLETTI BY SAVERIO TRUGLIA c UGLIA VERIO TR SA Pat Bertoletti Overeating for Fun and Profit One day Kendall College culinary student Pat Bertoletti hopes to run his own restau- rant. But he may never be as famous for his cooking as he is for stu∞ng his face. By Kabir Hamid t was ten o’clock on a Saturday morning room at the destination airport, but his flight have to begin shoving as many beef tamales in May and Pat Bertoletti was in the tiny had been delayed and he was getting nervous.
    [Show full text]
  • Memory of the Third Reich in Hitler Youth Memoirs
    Memory of the Third Reich in Hitler Youth Memoirs Tiia Sahrakorpi A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy of University College London. Department of German University College London August 21, 2018 2 3 I, Tiia Sahrakorpi, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the work. Abstract This thesis examines how the Hitler Youth generation represented their pasts in mem- oirs written in West Germany, post-unification Germany, and North America. Its aim is two-fold: to scrutinise the under-examined source base of memoirs and to demonstrate how representations of childhood, adolescence and maturation are integral to recon- structing memory of the Nazi past. It introduces the term ‘collected memoryscape’ to encapsulate the more nebulous multi-dimensional collective memory. Historical and literary theories nuance the reading of autobiography and memoirs as ego-documents, forming a new methodological basis for historians to consider. The Hitler Youth generation is defined as those individuals born between 1925 and 1933 in Germany, who spent the majority of their formative years under Nazi educa- tional and cultural polices. The study compares published and unpublished memoirs, along with German and English-language memoirs, to examine constructions of per- sonal and historical events. Some traumas, such as rapes, have only just resurfaced publicly – despite their inclusion in private memoirs since the 1940s. While on a pub- lic level West Germans underwent Vergangenheitsbewältigung (coming to terms with the past), these memoirs illustrate that, in the post-war period, private and generational memory reinterpretation continued in multitudinous ways.
    [Show full text]
  • Get Listenin' Kids!': Independence As Social Practice in American Popular Music" Why Is This Research Being Done? This Is a Research Project Being Conducted by J
    ABSTRACT Title of Dissertation: “GET LISTENIN’ KIDS!”: INDEPENDENCE AS SOCIAL PRACTICE IN AMERICAN POPULAR MUSIC Laura Beth Schnitker, Doctor of Philosophy, 2011 Dissertation directed by: Professor J. Lawrence Witzleben Division of Musicology and Ethnomusicology School of Music, University of Maryland This dissertation examines the concept of independence—defined as alternative approaches to the creation, distribution and consumption of music that actively resist cultural hegemonies—as an ongoing tradition in American popular music. While previous studies of independence have focused on specific independent record labels or eras, this project views independence as a historical trajectory that extends to the beginnings of the recording industry. Pierre Bourdieu’s concept of the social field frames my investigation of the ways in which independence becomes socially and musically manifested in communities of musicians, mediators and audiences. I explore how these communities articulate their distinction within the dominant music industry by responding to the social and aesthetic chasms created by the centralization of media. This study is divided into two sections. The first focuses on independent record labels and local radio broadcasts in the first half of the twentieth century, when “independent” referred to either a record label that distributed outside major label channels, or a radio station unaffiliated with a network. In the second section, I show how the modern concept of independence became more overtly political with the emergence of the punk movement of the late 1970s. I follow the subsequent development of independent underground networks in the 1980s through their present-day fragmentation in twenty-first century internet culture. I conclude with an ethnographic examination of independent music performances in order to show that, while independence remains situated in ideas about community, authenticity and autonomy, it is subjectively understood and constructed by individual members of independent communities.
    [Show full text]
  • How Do the Theories of John Dewey, Maxine Greene
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Aesthetics in the classroom for social justice : how do the theories of John Dewey, Maxine Greene, and Jane Piirto inform us? Valerie Meiners Comeaux Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Education Commons Recommended Citation Comeaux, Valerie Meiners, "Aesthetics in the classroom for social justice : how do the theories of John Dewey, Maxine Greene, and Jane Piirto inform us?" (2013). LSU Doctoral Dissertations. 1984. https://digitalcommons.lsu.edu/gradschool_dissertations/1984 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. AESTHETICS IN THE CLASSROOM FOR SOCIAL JUSTICE: HOW DO THE THEORIES OF JOHN DEWEY, MAXINE GREENE, AND JANE PIIRTO INFORM US? A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Education by Valerie Meiners Comeaux B.S., Louisiana State University, 2004 M.Ed., Louisiana State University, 2005 Ed.S., Louisiana State University, 2007 December 2013 To Chase and Shelby, I started this for me but finished it for you. ii ACKNOWLEDGEMENTS I was beginning to believe that this section would never be written. The first pages of this dissertation were started years ago, but in truth, the ideas presented here are something I have been exploring since grade school.
    [Show full text]
  • Shadows of Yesterday
    University of Texas at El Paso ScholarWorks@UTEP Open Access Theses & Dissertations 2020-01-01 Shadows of Yesterday Marlene Liotti University of Texas at El Paso Follow this and additional works at: https://scholarworks.utep.edu/open_etd Part of the Creative Writing Commons, Psychiatric and Mental Health Commons, and the Women's Studies Commons Recommended Citation Liotti, Marlene, "Shadows of Yesterday" (2020). Open Access Theses & Dissertations. 3170. https://scholarworks.utep.edu/open_etd/3170 This is brought to you for free and open access by ScholarWorks@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of ScholarWorks@UTEP. For more information, please contact [email protected]. SHADOWS OF YESTERDAY MARLENE LIOTTI Master’s Program in Creative Writing APPROVED: Sylvia Aguilar- Zéleny, Ph.D., Chair Paula Cucurella- Lavín, Ph.D. Jorge Delgado, MSN, RN Stephen L. Crites, Jr., Ph.D. Dean of the Graduate School Copyright © by Marlene Liotti 2020 Dedication I dedicate this final thesis to my husband, my two sons, my family, and my friends. You all stood by me, cheering me on, and never letting me quit. You each encouraged me in your own way and made me believe I could do this. I owe my success and completion to your love and support. Also, a special thanks to my “accomplice”, June “DJ” Westerfield. My writing is incomplete without a sprinkle of your magical fairy dust to polish the rough edges. You know my writing style and temperament and know how to get the best out of me without changing my voice or tone.
    [Show full text]
  • PRG 180/1/3-5 Camping out Expeditions Henry Hammond Tilbrook This Item Is out of Copyright
    _____________________________________________________________________________________ PRG 180/1/3-5 Camping out expeditions Henry Hammond Tilbrook This item is out of copyright. The covers of Volumes 3-5 are a marbled dark blue. The spine of Volume 3 is black, while the spines of Volume 4 and Volume 5 are navy. Volume 4 starts on page 62 and volume 5 on 124. A series of three lines – – – usually indicates time has passed, substituting crosses.. PRG 180/1/3 Camping out expeditions Henry Hammond Tilbrook Transcribed by H. Davies, volunteer at the State Library of South Australia, 2017 CAMPING-OUT EXPEDITIONS. BY HENRY HAMMOND TILBROOK, EAST ADELAIDE, SA. SERIES B. BOOK 1 [written on both the outside and the inside of the cover] ‘Lives of small men all remind us, We can write our lives ourselves, And, departing, leave behind us Some fat volumes on the shelves.’ Per Longfellow. In the lives of most men there’s a tale to unfold Which it is selfish to keep to themselves. They should take up the pen, ere getting too old, And some fat volumes leave for our shelves’. H.H.T. BOOK 1 – Series B. TRIP 1. – FAR NORTH. – 1889. By H.H. Tilbrook. In the spring of 1889, Mr Fred Lester and I – H.H. Tilbrook – made up our minds to try and get us each a rug of Euro skins. Kangaroos had been almost annihilated for hundreds of miles around, and the question was, Where was a hunting-ground to be found within a reasonable distance which would give us the slightest chance of success? We had to start from Clare, 90 miles north of Adelaide.
    [Show full text]