Legacy of Injustice Exploring the Cross-Generational Impact of The

Total Page:16

File Type:pdf, Size:1020Kb

Legacy of Injustice Exploring the Cross-Generational Impact of The Legacy of Injustice Exploring the Cross-Generational Impact of the ]apanese American Internment CRITICAL ISSUES IN SOCIAL JUSTICE Published in association with the International Center for Social lustice Research, Department of Psychology, Washington University, St. Louis, Missouri. Series Melvin J. Lerner and RHH Vermunt Editors: Washington University University of Leiden St. Louis, Missouri Leiden, The Netherlands Recent volumes in this series JUSTICE Views from the Social Sciences Edited by Ronald L. Cohen JUSTICE IN SOCIAL RELATIONS Edited by Hans-Werner Bierhoff, Ronald L. Cohen, and Jerald Greenberg LEGACY OF INJUSTICE Exploring the Cross-Generational Impact of the Japanese American Internment Donna K. Nagata NEW DIRECTIONS IN THE STUDY OF JUSTICE, LAW, AND SOCIAL CONTROL Prepared by the School of Justice Studies Arizona State University, Tempe, Arizona SCHOOL DESEGREGATION RESEARCH New Directions in Situational Analysis Edited by Jeffrey Prager, Douglas Longshore, and Melvin Seeman SOCIAL JUSTICE IN HUMAN RELATIONS Volume 1: Societal and Psychological Origins of Justice Edited by Riel Vermunt and Herman Steensma Volume 2: Society and Psychological Consequences of Justice and Injustice Edited by Herman Steensma and Riel Vermunt THE SOCIAL PSYCHOLOGY OF PROCEDURAL JUSTICE E. Allan Lind and Tom R. Tyler A Continuation Order Plan is available for this series. A continuation order will bring delivery of each new volume immediately upon publication. Volumes are billed only upon actual shipment. For further information please contact the publisher. Legacy of Injustice Exploring the Cross-Generational Impact of the ]apanese American Internment Donna K. N agata University of Michigan Ann Arbor, Michigan Springer Science+Business Media, LLC Llbrary of Congress Cataloglng-In-Publlcatlon Data Nagata, Donna K. Legacy of lnjustlee : explorlng the eross-generatlonal l~paet of the Japanese-Aoerlean lnternoent / Donna K. Nagata. p. em. -- (Crltleal Issues In soelal justlee) 1neludes blbllographleal referenees and Index. 1. Japanese Amerleans--Evaeuatlon and reloeatlon, 1942-1945. 2. Clvl1 rlghts--Unlted States. 3. World War, 1939-1945--1nfluenee. I. Tltle. 11. Serles. D7S9.8.ASN33 1993 973'.0495S--dc20 93-3927 C1P ISBN 978-1-4899-1120-9 ISBN 978-1-4899-1118-6 (eBook) DOI 10.1007/978-1-4899-1118-6 © 1993 Springer Science+Business Media New York Originally published by Plenum Press, New York in 1993. Softcover reprint of the hardcover 1st edition 1993 All rights reserved No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording, or otherwise, without written permission from the Publisher. Für my parents Preface At the age of 6, I discovered a jar of brightly colored shells under my grandmother's kitchen sink. When I inquired where they had come from, she did not answer. Instead, she told me in broken English, "Ask your mother." My mother's response to the same question was, "Oh, I made them in camp." "Was it fun?" I asked enthusiastically. "Not really," she replied. Her answer puzzled me. The shells were beautiful, and camp, as far as I knew, was a fun place where children roasted marshmallows and sang songs around the fire. Yet my mother's reaction did not seem happy. I was perplexed by this brief exchange, but I also sensed I should not ask more questions. As time went by, "camp" remained a vague, cryptic reference to some time in the past, the past of my parents, their friends, my grand­ parents, and my relatives. We never directly discussed it. It was not until high school that I began to understand the significance of the word, that camp referred to a World War II American concentration camp, not a summer camp. Much later I learned that the silence surrounding discus­ sions about this traumatic period of my parents' lives was a phenomenon characteristic not only of my family but also of most other Japanese American families after the war. "It's like a secret or maybe more like a skeleton in the closet-like a relative in the family who's retarded or alcoholic," said a woman whose mother was also in a camp. "Everyone tiptoes around it, discussing it only when someone else brings it up, like a family scandal. I'm aware of the shame of it, but it's really a paradox. It wasn't anything she did to be ashamed of. There were things done to her, like a rape victim!" In fact, her mother and my parents-along with more than 110,000 Japanese Americans-were moved from their hornes to concentration camps located in desolate areas of the United States. Forced to sell their belongings and evacuate, they took only what they could carry and wore vii viii Preface impersonal numbered tags for identification. Most ]apanese Americans were forced to move twice-first to assembly centers at horsetracks and fairgrounds, where many lived in animal stalls; and later to the barren, hastily constructed camps themselves. Barbed wire and armed guard towers surrounded the camps despite the fact that approximately two­ thirds of those incarcerated were D.S. citizens. More than 90% of the ]apanese American population on the D.S. mainland lived in confine­ ment, for up to 4 years, without the right to a trial or individual review. Although the American government claimed that the action was neces­ sary to prevent espionage by ]apanese Americans in this country, it would eventually be revealed that there was no evidence to support the military necessity for such drastic measures (Commission on Wartime Relocation and Internment of Civilians [CWRIC] (1982). Ironically, at the same time that ]apanese Americans were living in concentration camps and considered hazardous to national security, 23,000 additional ]apanese Americans (including the relatives of those in camps) served in the D.S. military during World War 11, protecting the American ideals of equality, justice, and democracy (Daniels, 1988). These were American-born second-generation Japanese American (Nisei) men who enlisted directly from the camps and from Hawaii in an effort to prove their loyalty to the Dnited States. The service record of the Nisei was exemplary. The all-Japanese American 100th Battalion and the 442nd Regimental Combat Team were among the war's most decorated units, and the work of Nisei in military intelligence contributed signifi­ cantly to the American war effort. In 1980, nearly 40 years after the war, the D.S. government seriously reviewed the facts and circumstances surrounding the internment and recommended redress for the injustices suffered by the Japanese Ameri­ cans during the war. At that time, an act of Congress established the Commission on Wartime Relocation and Internment of Civilians. The commission conducted hearings in cities across the Dnited States, receiving testimony from more than 750 witnesses including former interne es , government officials, and historians. Based on these testi­ manies and volurnes of government documents, it concluded that "there was no justification in military necessity for the exclusion" and, ac cord­ ingly, "there was no basis for the detention" (CWRIC, 1982, p. 10). The commission summarized its findings as follows: The broad historical causes which shaped these decisions were race preju­ dice, hysteria and a failure of politicalleadership. Widespread ignorance of Japanese Americans contributed to a policy conceived in haste and executed in an atmosphere of fear and anger at Japan. A grave injustice was done to American citizens and resident aliens of Japanese ancestry. (CWRIC, 1982, p. 18) Preface ix While historians are now able to develop a retrospective accounting for the causes of the internment, it is more difficult to document the long-term effects of that injustice. The writings that do exist describe the social and psychological suffering created by the internment and forced evacuation (e.g., Mass, 1986; Morishima, 1973). Although they had done nothing wrong, many Nisei felt ashamed and humiliated by what hap­ pened to them, and some even blamed themselves for not being Ameri­ can enough. Today the aftereffects from the internment elude casual inspection. Educationally and economically, both those ]apanese Americans who were interned and their offspring seem outwardly successful and un­ affected by their experiences of racism; they have accomplished much. Discussion of what happened has been conspicuously absent from classroom history books, and the vast majority of Americans know little, if anything, about the internment. Only through efforts leading to the passage of the Civil Liberties Act of 1988, which apologized for wrongful imprisonment and authorized the payment of $20,000 redress to each surviving internee, has the silence begun to break. Most adult children of the internees, third-generation ]apanese Americans (Sansei), were born after the war and did not experience the internment. Although they were born and raised in the United States like their Nisei parents, these Sansei-who are now primarily in their 30s and 40s-have experienced significantly less overt racism than their parents. Yet recognizing the great injustice that took place, they carry with them the legacy of their parents' internment. Time has not severed the psychological ties to events that preceded them, nor has the fact that their parents will not openly discuss the internment. On the contrary, the vast majority of Sansei feel that the incarceration has affected their lives in significant ways, and the re cent ]apanese American redress movement was "led largely by younger ]apanese Americans whose parents and grandparents still bore the psychological scars of intern­ ment" (Irons, 1983, p. 348). What is the nature of this legacy? How is the impact of one genera­ tion's historie injustice passed on to the next generation? And what long­ term effects has the internment had for the offspring of those who were incarcerated? These are the questions addressed in this book through data collected for the Sansei Research Project.
Recommended publications
  • Listening to Movies: Film Music and the American Composer Charles Elliston Long Middle School INTRODUCTION I Entered College
    Listening to Movies: Film Music and the American Composer Charles Elliston Long Middle School INTRODUCTION I entered college a naïve 18-year-old musician. I had played guitar for roughly four years and was determined to be the next great Texas blues guitarist. However, I was now in college and taking the standard freshman music literature class. Up to this point the most I knew about music other than rock or blues was that Beethoven was deaf, Mozart composed as a child, and Chopin wrote a really cool piano sonata in B-flat minor. So, we’re sitting in class learning about Berlioz, and all of the sudden it occurred to me: are there any composers still working today? So I risked looking silly and raised my hand to ask my professor if there were composers that were still working today. His response was, “Of course!” In discussing modern composers, the one medium that continuously came up in my literature class was that of film music. It occurred to me then that I knew a lot of modern orchestral music, even though I didn’t really know it. From the time when I was a little kid, I knew the name of John Williams. Some of my earliest memories involved seeing such movies as E.T., Raiders of the Lost Ark, and The Empire Strikes Back. My father was a musician, so I always noted the music credit in the opening credits. All of those films had the same composer, John Williams. Of course, I was only eight years old at the time, so in my mind I thought that John Williams wrote all the music for the movies.
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • An Examination of Jerry Goldsmith's
    THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES VINCENT GASSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MAY 2019 © VINCENT GASSI, 2019 ii ABSTRACT Jerry GoldsMith’s twelve-tone score for Planet of the Apes (1968) stands apart in Hollywood’s long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the filM. GoldsMith’s formative years prior to 1967–his training and day to day experience of writing Music for draMatic situations—were critical factors in preparing hiM to meet this challenge. A review of the research on music and eMotion, together with an analysis of GoldsMith’s methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the filM. The score for Planet of the Apes Marks a pivotal moment in an industry with a long-standing bias toward modernist music. iii For Mary and Bruno Gassi. The gift of music you passed on was a game-changer. iv ACKNOWLEDGEMENTS Heartfelt thanks and much love go to my aMazing wife Alison and our awesome children, Daniela, Vince Jr., and Shira, without whose unending patience and encourageMent I could do nothing. I aM ever grateful to my brother Carmen Gassi, not only for introducing me to the music of Jerry GoldsMith, but also for our ongoing conversations over the years about filM music, composers, and composition in general; I’ve learned so much.
    [Show full text]
  • 4F for Freaks: Miss Corkers Revenge Free
    FREE 4F FOR FREAKS: MISS CORKERS REVENGE PDF Leigh Hobbs | 96 pages | 01 Feb 2006 | Allen & Unwin | 9781741140910 | English | Sydney, Australia Freaks Ahoy - Leigh Hobbs - Google книги Sign In. Forbidden Zone Hide Spoilers. Merry Lunacy TonyDood 4 August I avoided this film for years even though I seek out movies that appear to have been created by people with "unstable" minds Jodorowsky, Ken Russell, Lynch and Jess Franco. The problem was the box cover art. The cartoon of Susan Tyrrell is so lurid and 80's it was really off-putting. And the promise of "offensive" humor made it sound like a low-rent John Waters movie. I've gone beyond "it's fun to be shocked" movies and demand some quality. How surprised I was when I finally gambled on this one! I had seen the last minutes on IFC or some cable station late one night while flipping channels. My first thoughts were probably like anyone's would be All jumping around singing, "The Forbidden Zone! The image rivaled Fellini! I was absolutely riveted for the entire running time. I can't think of 4F for Freaks: Miss Corkers Revenge single movie in history like this one, and I've seen some real corkers! The opening musical number, using an old recording of the song "Some Of These Days" as a background track, is eye-poppingly brilliant. I still don't know how it was done, certainly not with the skills and technology of a low-budget filmmaker in But it speaks to me on an unconscious level, dark and brooding yet fanciful and jolly the slick dancing butler who appears out of nowhere is one of the most delightfully ridiculous and satisfying surreal moments I've seen in years.
    [Show full text]
  • Write for Living –Shelby G
    A Teen ‘Zine Volume 2 School Live for Drawing College Write for Living –Shelby G. Work World Domination Retirement Persian Gamer -Nadia on and off court -Omeed P. Pi(e) is a Food and a number Still waiting –Justin G. for my Hogwarts letter… -Nicole H. Bored, sleepy, Active, confused, Need Entertainment. -Ryeka N. Left, Came back, Left again. Stayed. –Keshia N. I read, watch, and write stories. –Paloma B. My life in six words…Oops. –Matteo P. Inspired by a writing exercise based on the book Not Quite What I Was Planning: Six Word Memoirs by Writers Famous and Obscure, edited by Rachel Fershleiser and Larry Smith. Write On! A Teen ‘Zine Pieces Inspired by This Summer’s Teen Writers’ Workshop Santa Monica Public Library Summer 2011 Write On! A Teen ‘Zine Special Thanks to: Sarah Blakley-Cartwright Cecil Castellucci Amy Goldman Koss Alan Sitomer Alex Trivas Lisa Yee The Youth Services Department Friends of the Santa Monica Public Library Write On! 2011 A Teen ‘Zine is a publication of writing by participants in the Summer Teen Writers’ Workshop 2011. Please enjoy these pieces, inspired by creative writing exercises, author visits, and teen life experiences. Nobody writes for themselves. It must be that, on some level, you want someone else to read it... someone else to understand it. -Amy Goldman Koss sandwich cookie just before the first bite… Ensemble poem by the WriteOn! 2011 SMPL Teen Writers My cookie is like the soft, warm sun. It will lighten my day, make the cold times bright. It rolls like a hamster wheel.
    [Show full text]
  • The Forbidden Zone Writers: Femininity and Anglophone Women War Writers of the Great
    Marquette University e-Publications@Marquette Dissertations (2009 -) Dissertations, Theses, and Professional Projects The orbiddeF n Zone Writers: Femininity and Anglophone Women War Writers of the Great War Sareene Proodian Marquette University Recommended Citation Proodian, Sareene, "The orF bidden Zone Writers: Femininity and Anglophone Women War Writers of the Great War" (2018). Dissertations (2009 -). 800. https://epublications.marquette.edu/dissertations_mu/800 THE FORBIDDEN ZONE WRITERS: FEMININITY AND ANGLOPHONE WOMEN WRITERS OF THE GREAT WAR by Sareene Proodian, B.A., M.A. A Dissertation submitted to the Faculty of the Graduate School, Marquette University, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Milwaukee, WI August 2018 ABSTRACT THE FORBIDDEN ZONE WRITERS: FEMININITY AND ANGLOPHONE WOMEN WRITERS OF THE GREAT WAR Sareene Proodian, B.A., M.A. Marquette University, 2018 This dissertation examines the texts of Anglophone women writers from the First World War. Women’s roles in the war—volunteer nurses, ambulance driver, munitions workers, and land girls—gave them the opportunity to leave the protection of their homes and enter the masculine dominated public sphere. In this dissertation, I examine different genres of women’s writing from the war and trace three aspects of simultaneity as these writings explore the new freedoms, and new and old constraints, that the war brought to women. The three principles of simultaneity explain the conflicting emotions women feel over what the war means
    [Show full text]
  • The Imagined Voice 2017 JULY
    Cover Page The handle http://hdl.handle.net/1887/58691 holds various files of this Leiden University dissertation. Author: Kyriakides, Y. Title: Imagined Voices : a poetics of Music-Text-Film Issue Date: 2017-12-21 Imagined Voices A Poetics of Music-Text-Film Yannis Kyriakides Imagined Voices A Poetics of Music-Text-Film Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden op gezag van Rector Magnificus prof.mr. C.J.J.M. Stolker, volgens besluit van het College voor Promoties te verdedigen op donderdag 21 december 2017 klokke 15.00 uur door Yannis Kyriakides geboren te Limassol (CY) in 1969 Promotores Prof. Frans de Ruiter Universiteit Leiden Prof.dr. Marko Ciciliani Universität für Musik und darstellende Kunst, Graz Copromotor Dr. Catherine Laws University of York/ Orpheus Instituut, Gent Promotiecommissie Prof.dr. Marcel Cobussen Universiteit Leiden Prof.dr. Nicolas Collins School of the Art Institute of Chicago Prof.dr. Sander van Maas Universiteit van Amsterdam Prof.dr. Cathy van Eck Bern University of the Arts Dr. Vincent Meelberg Radboud Universiteit, Nijmegen/ docARTES, Gent Faculteit der Geesteswetenschappen Academy of Creative and Performing Arts (ACPA) Table of Contents Acknowledgements 1 Introduction 4 PART I: Three Voices 16 Chapter 1: The Mimetic Voice 17 1.1 Art Imitates 18 1.2 Cognitive Immersion 24 1.3 Vocal Embodiment 27 1.4 Subvocalisation 32 1.5 Inner Speech 35 1.6 Silent Voices 38 Chapter 2: The Diegetic Voice 41 2.1 Narration 43 2.2 Paratext 46 2.3 Narrational Network 48 2.4 Temporality
    [Show full text]
  • Boingo Alive: a Celebration of a Decade 1979-1988 Mp3, Flac, Wma
    Oingo Boingo Boingo Alive: A Celebration Of A Decade 1979-1988 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: Boingo Alive: A Celebration Of A Decade 1979-1988 Country: Australia Released: 1988 Style: Alternative Rock MP3 version RAR size: 1271 mb FLAC version RAR size: 1494 mb WMA version RAR size: 1151 mb Rating: 4.4 Votes: 955 Other Formats: AC3 TTA MP2 AA WMA MP3 VOC Tracklist A1 Dead Man's Party 6:22 A2 Dead Or Alive 4:01 A3 No Spill Blood 4:33 A4 Stay 3:55 A5 Cinderella Undercover 4:40 B1 Just Another Day 5:05 B2 Only Makes Me Laugh 3:41 B3 My Life 4:45 B4 Nothing To Fear (But Fear Itself) 3:48 B5 Not My Slave 4:06 C1 Winning Side 3:57 C2 Wild Sex (In The Working Class) 4:15 C3 Grey Matter 5:42 C4 Private Life 3:08 C5 Gratitude 4:45 D1 Who Do You Want To Be 3:17 D2 Sweat 4:32 D3 Violent Love 2:20 D4 On The Outside 3:42 D5 Only A Lad 3:47 D6 Goodbye-Goodbye 3:30 Credits Alto Saxophone, Tenor Saxophone – Sam Phipps Art Direction – Vartan Baritone Saxophone – Leon Schneiderman Bass, Vocals – John Avila Design – DZN, The Design Group Drums, Percussion – Johnny "Vatos" Hernandez Engineer [Assistant] – Charlie Brocco, David Roberts , Jeff DeMorris, Robert Hart Guitar – Steve Bartek Illustration – Gary Panter Illustration [Cover Illustration] – Georgeanne Deen* Keyboards, Vocals – Carl Graves Mastered By – Stephen Marcussen Mixed By [Additional] – Jim Scott Other [Monitors] – Greg Stevenson Photography By [Group Photo] – John Scarpati Producer – Danny Elfman, John Avila, Steve Bartek Recorded By [Additional] – Dean Burt, Jim Scott Recorded By, Mixed By – Bill Jackson Trombone – Bruce Fowler Trumpet, Trombone – Dale Turner Vocals, Guitar [Rhythm] – Danny Elfman Notes Recorded at The Power Plant Rehearsal Studio, North Hollywood, CA Audio Recording by Le Mobile Mixed at Village Recorders: W.
    [Show full text]
  • The Performance Culture of Burning Man
    ABSTRACT Title of Document: THE PERFORMANCE CULTURE OF BURNING MAN Wendy Ann Clupper, PhD, 2007 Directed By: Dr. Franklin J. Hildy, Department of Theatre and Performance Studies Theatre in the United States for the last twenty years has been evolving in scope by way of a cultural phenomenon known as Burning Man. In 2006, this festival attracted over forty thousand participants to the Black Rock Desert in Northwestern Nevada to a flat dusty Playa surrounded by mountain ranges. While the natural environment there is hostile, the creative atmosphere is welcoming and invites a broad scope of performative behaviors and genres to be exhibited there, the entire week the festival takes place. Make-shift stages and theme camps, as well as large- scale interactive art pieces play host to participants who dress up in fanciful costumes to perform in all manner of imagining. This dissertation maps out the cultural terrain of Burning Man in order to explain how performing there is form of identity-making and cultural commodity. As one of a handful of North American festivals which expressly discourage commercialism and commodification, theatricality takes the place of significance for entertainment and communication. Performance forms of all kinds historically are represented at Burning Man and this dissertation will investigate and theorize how a new performance culture has emerged from the festival itself and by its presence as a theatrical event, has exposed and expanded performance and theatre forms. This dissertation offers a critical framework through which to consider performance and performers within the Burning Man community as applied to Mikhail Bakhtin’s concept of Carnival and the Schema for Theatrical Eventness proposed by the International Federation for Theatre Research Theatrical Events Working Group.
    [Show full text]
  • La Planete Des Singes
    u Ottawa L'Universite canadienne Canada's university FACULTE DES ETUDES SUPERIEURES FACULTY OF GRADUATE AND ET POSTDOCTORALES u Ottawa POSTDOCTORAL STUDIES L* University canadienne Canada's university Bradley Leonard M.A. (Translation) School of Translation and Interpretation faculTOCOIE^^ How the Apes Saved Civilization: Antropofagia, Paradox and the Colonization of La Planete des singes TITRE DE LA THESE / TITLE OF THESIS L. von Flotow "bTRECTEURTDTRECTSc^ CO-DIRECTEUR (CO-DIRECTRICE) DE LA THESE / THESIS CO-SUPERVISOR EXAMINATEURS (EXAMINATRICES) DE LA THESE/THESIS EXAMINERS M. Charron R. Fraser Gary W. Slater Le Doyen de la Faculte des etudes superieures et postdoctorales / Dean of the Faculty of Graduate and Postdoctoral Studies How the Apes Saved Civilization: Antropofagia, Paradox and the Colonization of La Planete des singes Bradley Leonard Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements For the MA degree in Translation School of Translation and Interpretation Faculty of Arts University of Ottawa © Bradley Leonard, Ottawa, Canada, 2009 Library and Archives Biblioth&que et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'6dition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-61322-1 Our file Notre r6fSrence ISBN: 978-0-494-61322-1 NOTICE: AVIS: The author has granted a non- L'auteur a accorde une licence non exclusive exclusive license allowing Library
    [Show full text]
  • The Art of Noise: Literature and Disturbance 1900-1940
    THE ART OF NOISE: LITERATURE AND DISTURBANCE 1900-1940 by Nora Elisabeth Lambrecht A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland October, 2017 © 2017 Nora Elisabeth Lambrecht All Rights Reserved ABSTRACT The Art of Noise: Literature and Disturbance 1900-1940 is a study of noise’s role in prose literature in the U.S., Britain, and Ireland in the first half of the twentieth century. The Art of Noise focuses on what I call modernist noise, a way of leveraging noise— understood both as an auditory phenomenon (unwanted sound) and cybernetic interference (additional or garbled information that distorts information transmission)—to draw attention to, and in some cases to patch, a communicative or epistemological gap. I examine how authors leverage noise’s ability to confuse, to dismay, to pull a reader out of the flow of a text, and even to alienate her in order to create sticking points in their work that demand attention. In tracing noise’s disruptive qualities through modernist and modernist-era novels, I am particularly interested in how the defamiliarizing action of modernist noise coalesces around limit cases of social and political belongingness— narratives of extremity ranging from total war to economic and racial otherness. Scholarship on literary sound has tended to focus on musicality, or on the impact of sound technology on modernist culture. This focus has led to a general neglect of noise in se. The authors I consider—chief among them Mary Borden, James Joyce, Upton Sinclair, and Richard Wright—suggest that writing noise carries with it the possibility of intercourse between otherwise unbridgeable domains of experience.
    [Show full text]
  • Columbia Pictures: Portrait of a Studio
    University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.
    [Show full text]