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Use of Materials and Resources Related to the Holocaust
Use of Materials and Resources Related to the Holocaust The nature of the subject of the Holocaust and the possible associated emotional impact means that teachers must take special care to preview all materials in their entirety. This is particularly true of the supplemental resources found for the study of the Holocaust. Age, grade level and content area suggestions need to be considered as well. Each class is unique and what is appropriate for one class might not be suitable for another. A designation by the publisher for the intended audience (Primary, Intermediate, Middle School, etc.) does not always accurately take into consideration the ages, reading level, or emotional maturity of the students. Picture books may still contain content that is not appropriate for primary or intermediate elementary students. Visual materials (videos, DVDs) need to be viewed in their entirety prior to use. This includes materials in the media center. Make sure that the school-based administrator is aware of any materials that are being used prior to a reaction from parents or the community. Use all procedures/processes that are in place at your school site regarding the showing of videos. Many times, students have seen movies or read books with their parents or guardians. This does not mean the same materials are appropriate for classroom viewing or use. Use common sense when choosing materials in print, auditory or visual formats. Use the expertise of the school’s administration or District curriculum staff. 12/14/09 lmedvin 1 The Girls of Room 28 Friendship, Hope, and Survival in Theresienstadt By Hannelore Brenner, trans. -
Israeli, I Am Personally Strongly Aware of the Need of a Victim People to Mourn and Protest the Tragedy One S Own People Has Suffered
1 SEVENTH BIENNIAL MEETING THE INTERNATIONAL ASSOCIATION OF GENOCIDE SCHOLARS Hosted by the Institute for the Research of Crimes Against Humanity And International Law of the University of Sarajevo, Bosnia and Herzegovina INTERNATIONAL ASSOCIATION OF GENOCIDE SCHOLARS (IAGS) Dear Colleagues Joining in the IAGS Biennial International Conference in Sarajevo, Bosnia and Herzegovina, July 2007: I am happy to extend to each and every one of you from the far corners of our planet a warm welcome to this very promising IAGS International Conference! Our conference is dedicated to the memory of the late Professor Eric Markusen whom we mourn. Like Eric, we commit ourselves to the study of how genocide has been perpetrated by many peoples, including some peoples who were previously or later victims. Genocide is a constant threat to the unity of the human race. We must learn to overcome it. Like Eric, we commit ourselves not only to study genocide, but to prevent it. We are especially moved by our opportunity to join the Bosnian people in their memorial and pain at the genocide that they so recently suffered, even as we join deeply with all peoples around the world who have suffered genocides. A sizable group of us come to this conference following an intensive seminar at Auschwitz-Birkenau where we met with planners of a new international center for genocide prevention. As a Jew and Israeli, I am personally strongly aware of the need of a victim people to mourn and protest the tragedy one s own people has suffered. One also must always beware of the accompanying tendency to become insensitive to the similar suffering of others. -
ANNUAL REPORT 2013 Birkenwald
ANNUAL REPORT 2013 Birkenwald. Forest of Auschwitz II-Birkenau, the ruins of crematory V in the background. In German, Birkenau means “stand of birch trees.” Ethel Buisson took this photograph as she followed in the footsteps of her grandfather, Srul Ruger, who died in Auschwitz in 1942. Her trip was published in 2014 in the journal Tenou’a. 1 An in-depth work that is more essential than ever Currently, Europe is experiencing a resurgence of anti-Semitism. This disturbing reality is due to an increasingly violent and vociferous minority. The association of disparate movements under the banner of anti-Semitism and conspiracy theories should be a warning. Ridiculed and even denied, the Shoah has been exploited with this hate speech, which shamelessly tramples on the memory of the victims. This dangerous excess is unacceptable; fortunately, it has been widely condemned by public authorities and society at large. Faced with this reality, the Foundation for the Memory of the Shoah intends to pursue the in-depth work it began 13 years ago: education, based on a knowledge of history and action that refuses any “competing memories,” combined with public vigilance. Schools are crucial to this work, and I would like to congratulate the many teachers who, with their students, pursue productive pedagogical initiatives every year. The year 2013 was also marked by two projects, which the Foundation is particularly proud to have supported. The first is the memory site inaugurated in Le Chambon-sur-Lignon, a place that presents the history of the Vivarais Plateau, whose residents sheltered hundreds of Jews fleeing the persecutions of the war. -
Barwick, Linda, and Joseph Toltz
Barwick, Linda, and Joseph Toltz. “Quantifying the Ineffable? The University of Sydney’s 2014 Guidelines for Non-Traditional Research Outputs.” In Perspectives on Artistic Research in Music, edited by Robert Burke and Andrys Onsman, 67–77. Lanham, Maryland & Oxford: Lexington Books, 2017. This is a postprint version (author’s accepted manuscript), with page numbers altered to match the published version. The version of record is available from https://rowman.com/ISBN/9781498544832/Perspectives-on- Artistic-Research-in-Music 1 Quantifying the ineffable? The University of Sydney’s guidelines for non- traditional research outputs (2014) Linda Barwick & Joseph Toltz Ever since the Australian Research Council (ARC, 2009) first recognized “non- traditional research outputs” (NTROs) as valid expressions of research, developing benchmarks to measure the quality of artistic research has been of increasing interest to the Australian higher education sector. Because research quality (as measured through the triennial Excellence in Research Australia exercise) is a driver for block funding to higher education institutions, decisions about the quality of artistic research need to be transparent, based on peer review and justifiable to government auditors. With these requirements in mind, in 2014 the University of Sydney adopted University Guidelines for Non-Traditional Research Outputs, developed by a University working party led by Professor William Christie (then Associate Dean (Research) in the Faculty of Arts and Social Sciences). Extending a previous set of guidelines developed by the Creative Arts Working Party in 2012, the guidelines follow the framework and terminology developed by the Australian Research Council (2014). The Guidelines recognize that: [r]esearch output may consist of any form of publicly available, assessable materials embodying research, whether produced by writing, making, composing, designing, performing, or curating. -
Karen Fellenz Mcnamara, MSW, LCSW-C Date
Professionals and their Organizational Roles in Pathways to Care for Early Psychosis: Where Are the Social Workers? Item Type dissertation Authors McNamara, Karen Anne Publication Date 2014 Abstract Problem: Expediting pathways to effective treatment may reduce the duration of untreated psychosis, thereby improving long-term functioning for individuals experiencing early psychosis. Previous research rarely addresses the role of social workers al... Keywords early intervention; early psychosis; first episode psychosis; pathway to care; psychosis; Social workers; Professional Role; Psychotic Disorders Download date 25/09/2021 13:39:15 Link to Item http://hdl.handle.net/10713/4097 CURRICULUM VITAE Karen Fellenz McNamara, MSW, LCSW-C Health Program Manager, Department of Psychiatry University of Maryland School of Medicine [email protected] Date: March, 19, 2014 Education 9/2009 – 5/2014 Doctorate of Philosophy- Social Work University of Maryland School of Social Work Dissertation title: Professionals and their Organizational Roles in Pathways to Care for Early Psychosis: Where Are the Social Workers? 1/2002 - 7/2005 Masters in Social Work – Clinical Concentration University of Maryland School of Social Work GPA 4.07 9/1999 - Bachelors of Science - Psychology 12/2002 Towson State University Graduated Summa cum Laude 9/1982-1/1999 Associates Degree for Transfer Students Baltimore Community College at Catonsville Emphasis in computer technology Graduated Summa cum Laude Licensure 5/2008 – present Licensed Certified Social Worker – Clinical 5/2005 – 5/2008 Licensed Graduate Social Worker Research Experience 7/2005 – 4/2011 Maryland Psychiatric Research Center University of Maryland School of Medicine Department of Psychiatry Baltimore, MD Supervisors: Robert Buchanan, M.D. -
Eli J. Finkel – Curriculum Vitae (September, 2021)
Eli J. Finkel – Curriculum Vitae (September, 2021) Professional Information Mail: Northwestern University Northwestern University Department of Psychology Kellogg School of Management Swift Hall, Room 102 Department of Management and Organizations 2029 Sheridan Road 2211 Campus Drive Evanston, IL 60208 Evanston, IL 60208 E-mail [email protected] [email protected] Numbers: Phone: 847-491-3212 / Fax: 847-491-7859 Phone: 847-491-8672 / Fax: 847-491-8896 Website: http://elifinkel.com ORCID ID: https://orcid.org/0000-0002-0213-5318 Education Ph.D., 2001 Social & Quantitative Psych University of North Carolina at Chapel Hill (Mentor: Caryl E. Rusbult) M.A., 1999 Social & Quantitative Psych University of North Carolina at Chapel Hill (Mentor: Caryl E. Rusbult) B.A., 1997 Psychology Northwestern University (Mentors: J. Michael Bailey and Neal J. Roese) Professional Experience Primary Appointments 2013– Professor of Management and Organizations, Kellogg School of Management, Northwestern University 2012– Professor of Psychology, Weinberg College of Arts and Sciences, Northwestern University 2008–2012 Associate Professor of Psychology, Weinberg College of Arts and Sciences, Northwestern University 2003–2008 Assistant Professor of Psychology, Weinberg College of Arts and Sciences, Northwestern University Additional Appointments 2019 Visiting Scholar, Department of Social Psychology, Vrije Universiteit Amsterdam 2008 Visiting Scholar, Department of Social Psychology, Vrije Universiteit Amsterdam 2007– Faculty Associate, Institute -
Central and Eastern Europe
Central and Eastern Europe Federal Republic of Germany National Affairs J_ HE ADOPTION OF A NEW capital city was only one transition among many that transformed the Bonn Republic into the Berlin Republic in 1999. In the spring, usually vocal intellectuals of the left watched in stunned silence as Chancellor Gerhard Schroder of the Social Democratic Party (SPD), and For- eign Minister Joschka Fischer, the leader of the Greens, led Germany into its first military engagement since World War II. For decades, pacifism had been the les- son drawn by the German left from Auschwitz, yet Fischer justified his support for the NATO bombing campaign in the Balkans by comparing Serbian crimes in Kosovo to the Holocaust. For his part, the "war chancellor" believed that the military engagement marked the dawn of a new age in which the German role on the world stage would reflect its economic strength. Finance Minister Oskar Lafontaine shocked his loyal followers in the SPD in March when he resigned from both his government post and the chairmanship of the party. His retreat ended months of conflict within the government over eco- nomic policy. In addition to appointing a minister of finance more amenable to neoliberal thinking, the chancellor reluctantly assumed the chairmanship of the SPD. Then, when the government announced plans in the summer to tighten the reins on government spending, the left wing of the SPD revolted, and Schroder needed months to silence traditionalists within his own party. This crisis within the SPD and the disillusionment of rank-and-file Greens with the performance of their party in the coalition translated into dismal returns for the governing parties in state elections throughout the year. -
THE EULOGY Press Kit
THE EULOGY Press Kit Directed by JANINE HOSKING Produced by JANINE HOSKING- KATEY GRUSOVIN- TRISH LAKE An iKANDY FILMS-GRUSOFLIX-FRESHWATER PICTURES production Distributed by MADMAN Presented by SCREEN AUSTRALIA & SCREEN QUEENSLAND in association with MELBOURNE INTERNATIONAL FILM FESTIVAL PREMIER FUND- CREATE NSW- FILM VICTORIA Website: theeulogy.com.au SYNOPSIS LOG LINE The untold story of Australia’s greatest classical pianist. SHORT SYNOPSIS The Eulogy is a feature documentary, which for the first time unravels the truths and myths behind the life and career of one of Australia’s most brilliant, prolific and least understood concert pianists, Geoffrey Tozer. LONG SYNOPSIS ‘Geoffrey Tozer’s death is a national tragedy.’ - The Hon. Paul Keating ‘Geoffrey was a great ambassador for his nation’s culture. Much of the time it must have felt to him as if his nation didn’t care.’- Norman Lebrecht, French Music Critic The Eulogy is a feature documentary, which for the first time unravels the truths and myths behind the life and career of one of Australia’s most brilliant, prolific and least understood concert pianists, Geoffrey Tozer. As an 8-year-old child prodigy the world was Geoffrey Tozer’s oyster. From the time that he was the youngest ever semi-finalist at the famous Leeds Piano Competition, he dazzled audiences around the world. As an adult Geoffrey Tozer continued to perform in Australia and internationally but for a career that promised and delivered so much, Tozer’s end was shocking. At his memorial service in 2009, Tozer’s friend and former Prime Minister, Paul Keating delivered a searing eulogy, painting a haunting picture of a lonely genius shunned by the Australian musical establishment during the final years of his life. -
Brink-Productions-Land-Sea-By-Nicki
Land & Sea by Nicki Bloom and directed by Chris Drummond INTRODUCTION Be prepared for an inspired theatrical journey when you and your students attend Brink Productions’ new theatre work, Land & Sea written by Nicki Bloom and developed in collaboration with Brink Productions under the artistic directorship of Chris Drummond. Land & Sea was created through a series of workshops with actors and musicians with additional writing and dramaturgical phases. This collaboration moved through phases of development exploring notions of exile, unfaithfulness, twin-ship, memory, abandonment and the desolation of the urban landscape. In Land & Sea themes of duplicity, cross-connection, optical illusion, strange loops and the desolation of urban landscapes were inspired by a wide range of visual, literary and musical works. These include the theatre of Christoph Marthaler, the art of Escher, Jeffrey Smart, Marc Chagall, Matisse (Les amants) and Klimt (Beech Forest and Beech Forest II). Literary influences included Invisible Cities by Italo Calvino, House of Leaves by Mark Z. Danielewski, Alice in Wonderland/Through the Looking Glass by Lewis Carroll, Stars by David Malouf, The Orpheus and Eurydice myth and Strange loops, as referenced by Douglas Richard Hofstadter in his book Gödel, Escher, Bach: an Eternal Golden Braid. Other musical influences included The Dirty Three/Tren Brothers, Steve Reich, Erik Satie, Tom Waits (Black Rider), Paul Kelly (Foggy Highway), Leonard Cohen, Gillian Welch and many more. The music in this production is both original and found, drawing upon classical piano work, baroque (Bach), opera and folk songs. It is hoped that the knowledge, experience and encouragement that teachers bring to their students when arranging to view live theatre will give rise to discussion, thinking and responding to these perspectives and broaden students’ understanding of the human condition and of the world. -
Brundibar Program for Website.PUB
Presents HANS KRÁSA’S BRUNDIBAR (ENGLISH TRANSLATION BY TONY KUSHNER) Sunday, May 26, 2019, 1:00 PM & 4:30 PM Tuesday, May 28, 2019, 7:00 PM Ritz Theater Harry & Rose Samson Family Jewish Community Center Brundibár performance by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner PROGRAM Jason McKinney, Baritone Elyse Edelman, Director Nathan Wesselowski, Music Director Dr. Alexander Mandl, Conductor Joshua Richman, Conductor The English Ballad Medley Rabbi Michel Twerski (1939-1939) Mr. Richman Kindertotenlieder When Thy Mother Dear I Think oft’ They’ve Only Gone a Journey In Such a Tempest Gustav Mahler (1860-1911) Mr. McKinney Elna Hickson, piano Brundibár Hans Krása (1899-1944) Dr. Mandl BRUNDIBAR Director, Elyse Edelman Music Director, Nathan Wesselowski Conductor, Dr. Alexander Mandl Technical Director, Christopher Warren Costume Designer, Darcy Devens Rehearsal Accompanist and Outreach Accompanist, Elna Hickson Co-Rehearsal Accompanist, Donna Kummer CAST Brundibár Jason McKinney Pepíček Aryeh Karan Grade 8, Bader Hillel Academy Aninku Scarlett Hirano Grade 2, Atwater School Cat/Doctor Nathan Kabara Grade 11, Whitefish Bay HS Dog/Ice Cream Man Liam Jeninga Grade 9, Delavan-Darien HS Sparrow/Baker Casey Westphal Grade 7, Asa Clark MS Milkman/Farmer Ryon Davis Grade 8, Golda Meir MS Policeman Zephaniah Ponder Grade 4, Burleigh School Rooster Sonny Rosas-Bjugstad Grade 3, St. Anthony School CHORUS : Yosef Broch, Yisroel Brody, Avi Cohen, Shmuli Cooper, Bentzion Fox, Naftali Fox, Aaron Tzvi Goldman, Simcha Harris, -
Richard Gill AO Conductor “Perhaps It’S Just As Well That Leonard Bernstein Is Dead
ArtsManagement Richard Gill AO Conductor “Perhaps it’s just as well that Leonard Bernstein is dead. Otherwise he’d probably have to relinquish his great reputation as a musical educator- or at least share it with Sydney’s Richard Gill.” NickGilbert John Carmody, The Sun Herald © Richard Gill, AO, Founding Music Director and Conductor Emeritus of Victorian Opera, was one of Australia’s pre-eminent and most admired conductors specialising in opera, musical theatre and vocal and choral training. Internationally respected as a music educator, Richard’s work in developing young musicians and creating opportunities for them was recognised world-wide. Richard’s positions included Artistic Director of the Education Program for the Sydney Symphony Orchestra, Artistic Director of OzOpera, Artistic Director and Chief Conductor of the Canberra Symphony Orchestra, Artistic Advisor for the Musica Viva Education program, and Music Director of Sydney Chamber Choir. He was also the Founder and Director of the National Music Teacher Mentoring Program. The international law firm, King & Wood Mallesons, endowed a chair in music education at the Conservatorium High School, secondary arm of the Conservatorium of Music in Sydney and Richard had the honour of being the inaugural King & Wood Mallesons Conservatorium Chair in Music Education. Richard’s on-going associations included conducting the Auckland Philharmonia Orchestra for the Unwrap the Music series, Melbourne Symphony Orchestra for Ears Wide Open , Sydney Chamber Choir, Taipei American School’s ‘Artist in Residence’, and the Australian National Academy of Music, Melbourne as well as his role as a mentor and music educator to young musicians, teachers and many community groups across Australia. -
2019 Media Guide 2019 Media Guide
2019 MASTERS MEDIA GUIDE 2019 MEDIA GUIDE 2019 MEDIA GUIDE masters.com | April 8-14 | @TheMasters Printed on Recycled Paper Fred S. Ridley Chairman Joe T. Ford Vice Chairman James B. Hyler, Jr. Chairman, Competition Committees Media Committee: The Media Committee is dedicated to providing the press with the best tools and working environment possible. The Masters Tournament staff is available to assist the media, when possible, during the week of the Tournament and throughout the year. Craig Heatley Chairman, Media Committee For more information, please contact: Steven P. Ethun Director of Communications (706) 667-6705 - Direct (706) 832-1352 - Mobile e-mail: [email protected] Address: Post Office Box 2047 2604 Washington Road Augusta, GA 30903 Augusta, GA 30904 Telephone: (706) 667-6000 Website: masters.com Social Media: Twitter: @TheMasters Instagram: @TheMasters Facebook: facebook.com/TheMasters On the Cover: No. 12, Golden Bell Not for Resale For Media Use Only ©2019 by Augusta National, Inc. The 2019 Masters Media Guide is published for use by the media. Permission is hereby granted for excerpts from this work to be used in articles written for newspapers, magazines and the internet and for television and radio reports. Photographs and other pictorial material, and Masters or Augusta National Golf Club logos, may not be reprinted or reused without the express written permission of Augusta National, Inc. All other rights reserved. • Masters Electronic Device Policy: Electronic devices (including phones, laptops, tablets, and beepers) are strictly prohibited on the grounds at all times. Any device being used to record and/or transmit voice, video, or data is strictly prohibited.