DOCSLIB.ORG

The Possibilities of Narrative for Adult Educator Growth

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Possibilities of Narrative for Adult Educator Growth Ar lorg na slí or an inquiry into the possibilities of narrative for adult educator growth or a conversational record of a precarious educator and his critical companion’s grand tour of their textured personal, educational, occupational and, indeed, epistemological landscapes or fragments of voices in a clearing or a textual performance of adult educator knowledge or the slow (un?)becoming of an adult educator or triskelion reflections or a creative inquiry into the adult educator subject or ... (Smyth, 1989) Jeremiah (Jerry) John O’Neill Thesis submitted for the Degree of Doctor of Philosophy Maynooth University Department of Adult and Community Education October, 2015 Head of Department: Dr Tony Walsh Supervisor: Dr Bríd Connolly ver. 17 2 Acknowledgements First and foremost a big thanks to the adult educators who gave so willingly of their time to share their experiences and shape their stories with me in this inquiry. Thanks to the friends, colleagues and students who shared the dialogic space with me, at one time or another, over the years – this inquiry grew from the depth and richness of all those relationships and conversations. A particular thanks to all those from the doctoral group at Maynooth, students and staff, who listened and shared so much of their knowledge and helped me to shape my messy knowledge into an equally messy text. Thanks for the clarity of your thought – the mess is all mine. In particular, I would like to thank my supervisor, Bríd Connolly, for her always- generous support, scholarly advice, wisdom and the encouragement to walk off the beaten track with a critical head and open heart. Thanks to Stephen Joyce for allowing me to tap into his deep knowledge of the Irish language. A very special thanks to the big family: my parents, aunts, brothers, sisters and in-laws for their support, in so many ways, over the years. Big love to my children - Thomas, Michael and Aoife - for their bemused patience as I worked through this ‘big book about myself’. And a final word of love and gratitude for Emma – I wouldn’t have started, or finished, any of this without you. Abstract This thesis explores the possibilities of narrative approaches for adult educator growth. It is written and presented as a conversational walking tour between myself and a dialogic other through landscapes of personal, conceptual and occupational significance. This creative confluence of writing and walking is not merely a device to enhance reader engagement, but, after Richardson (1994); Speedy (2005); Gale & Wyatt (2006); Hall (2009); Ingold (2010); Shepherd (2011); McCormack (2013); and Gros (2014) is used here as a method of inquiry. Furthermore, these processes of embodied and contextualised dialogic practice perform a pedagogic function (hooks, 1994; Freire, 1997; Connolly & Hussey, 2013) which suggests our walking and talking tour can be seen as a research and learning text. Interpretive (Denzin, 2014) and polyphonic (Bakhtin, 1984) fragments from a fictional tutor anthology of educational and occupational biographies are interspersed with four creative, autoethnographically-infused walks which take place over the four parts of the text. Part One (Ways in) commences with tutor stories of their ways in to adult education before our first walk takes take us to Belfast to explore the theoretical ways in of this inquiry. On this walk we talk our way through the intersection between poststructuralist and postcolonial theories (Barthes, 1977; Kristeva, 1986a; Cixous, 1976; Bhabha,1994; Said, 1995) and cultural practice (Joyce, 1968, 1992a, 1992b; Morrison, 1992; Gilman, 1993; Duffy, 1994; Heaney, 1998; Welch, 2001) which reveals, for this inquiry at least, the significance of the discursive subject. In Part Two (Values, Struggle and Growth) fragments from tutor narratives on values, struggles and growth are interspersed with our walk through the western suburban and industrial landscapes of Edinburgh. It is here that we start to see the emergence of the educator subject and bear witness to an ever-emerging adult educator knowledge and practice (hooks, 1994; Freire, 1996; Brookfield, 2005; Connolly, 2013). Our third walk, Part Three (A Clearing), considers the possibilities of the convergence of the cultural and educational concepts and practices, which the first two walks have rehearsed, in a methodological space which is ethically and epistemologically consistent with our endeavours to explore adult educator experience (St. Pierre, 1997; Clandinin & Connelly, 2000; Ryan, 2001). Our final, culturally-cautious (Enright, 2015) walk in Part Four (Paths travelled; paths ahead) takes place in an autobiographically-resonant, unmapped valley in the west of Ireland. As well as reflecting on the worth and the significance of this inquiry, personally, methodologically and for adult educators, the inquiry subjects consider occupational futures in education and care within a broader socio-cultural backdrop of precarious and, often, invisible work. At one level this inquiry produces a troubled text – a messy product, or maybe, more accurately, a draft, of a theoretical, methodological and pedagogic practice which reveals itself from the slow process of the inquiry itself. And what does emerge, eventually, is, a ‘writerly text’ (Barthes, 1992), a textual something that sets the reader to work in the creative, playful, critical and perambulatory performance of knowledge and practice of a dialogic and intertextual adult educator subject in hard times: times of occupational and contractual precarity (Sennett, 1998; Standing, 2011; Courtois & O’Keefe, 2015) and times of significant structural, ideological and discursive shifts in adult education in Ireland and further afield (Connolly, 2013; Murray, et al., 2014). The journey comes to a pause in the end in, quite possibly, a post-qualitative space (Lather & St. Pierre, 2013; St. Pierre, 2013; 2014), which resists demarcations between research, personal and professional development and creative acts. And in this space there may just be some hope for adult educators struggling to exist and to grow in these hard times of educator precarity and professional invisibility – a hope that lurks around critical and creative acts of narrative reflexivity which draw from triskelion flows of personal, theoretical and communal epistemologies to produce more plural, polyphonic and politicised texts - texts which unashamedly sing the fractured and unstable occupational ontologies in their very form and style. 6 Off the beaten track - a guide to this walking tour In 2011 I enrolled on a doctorate programme with the Department of Adult and Community Education at Maynooth University. I was returning to study after several years working in adult and further education in Scotland and Ireland. It was my second time returning to education as a mature student. In the 1990s I returned to full-time education as a mature student at Queen’s University, Belfast. The difference, when I returned this time, was that I was returning as both an adult learner and an adult educator. Throughout my years as a practitioner, I had become increasingly involved and engaged in various activities and roles which attended to my own growth as an educator. This interest was reflected in the area which I hoped to explore in my PhD: the developmental experiences of adult educators. In particular, I was interested in the experiences of my adult educator peers working, as it seemed to me, at the institutional margins of VEC/ETBs in Ireland. As a humanities graduate and teacher of English and communications, I was aware, or rather I felt, that I was entering into a different epistemological space as I commenced my doctoral studies. I had, what now seems, a naïve notion that I would need to dispense with my interest and passion for the arts and humanities and, instead, become a serious researcher in the social sciences. And, more, given the responsibilities of family and work, that I had no time to lose to rush off and learn all I needed to become such a researcher. But what I didn’t appreciate then was that I was stepping into a learning space on the doctoral programme that was deeply informed by critical and feminist educational philosophies (hooks, 1994; Freire, 1997; Mezirow, 1997; Connolly, et al., 2007). This pedagogic space, wisely, held me back from my linear rush into becoming something I had never been, and instead, encouraged me to slow down and pause for a bit. Or rather, to take a deep and critical look at the ways of knowing that were embedded in my own educational and occupational biography. To consider, as Alheit might see it, the epistemological potential in the story of my own life (2009). What emerged from this deep and prolonged act of reflection is the text that follows. My inquiry didn’t shift from its original focus on the development and growth of adult educators. But the way in which this was conducted, and the form and style of the text which emerged from the inquiry, was shaped and re-shaped by the slow emergence and convergence of old and new knowledge flowing from, and through, personal and collective occupational and educational stories. And so, although my PhD is concerned with the experiences of adult educators, in the end, it has also become an inquiry into the ways that story and narrative have 8 significance for practitioner research, growth and development and, as such, is as much a story of methodological discovery as it is the story of adult educator experience. Unravelling narrative positions It is probably important to state that this text performs as much as represents this developing methodological understanding. And while I believe that this may be useful, and possibly refreshing, for adult educators to bear witness to the working-out and working-through of knowledge – to see the process as much as the product of meaning- making, I am also aware that you, the reader, willingly or not, becomes a fellow-traveller through a slow and messy epistemological wandering through personal and broader social landscapes.
Load more

Recommended publications
  • Inmigración/Emigración Na LIX
    Inmigración/Emigración na LIX tttt Coordinación: Blanca-Ana Roig Rechou Isabel Soto López Marta Neira Rodríguez (USC) Edición: Helena Pérez Produción: Antón Pérez © LIJMI (Red Temática de Investigación «Las Literaturas Infantiles y Juveniles del Marco Ibérico e Iberoamericano») © Ilustración de cuberta e interiores: Luis Baizán Arroba e Daniel Vilas León © para esta edición, Edicións Xerais de Galicia, S.A., 2014 Dr. Marañón, 12. 36211 VIGO [email protected] ISBN: 978-84-9914-723-9 Depósito Legal: VG 362-2014 Impreso en Obradoiro Gráfico, S.L. Polígono do Rebullón, 52 D 36416 Mos (Pontevedra) Reservados todos os dereitos. O contido desta obra está protexido pola Lei, que prohibe a reprodución, plaxio, distribución ou comunicación pública, en todo ou en parte, dunha obra literaria, artística ou científica, ou a súa transformación, interpretación ou execución artística fixada en calquera tipo de soporte ou comunicada a través de calquera medio, sen a preceptiva autorización. Inmigración/Emigración na LIX tttttt Coordinación: Blanca-Ana Roig Rechou (USC) Isabel Soto López (USC) Marta Neira Rodríguez (USC/CEU-UVI) Equipo redactor: Eulalia Agrelo Costas – Thiago Alves Valente Mikel Ayerbe – Silvana Augusta Barbosa Carrijo Verónica Casais Vila – Margarida Castellano Sanz João Luís Ceccantini – Jesús Díaz Armas Xabier Etxaniz Erle – Mar Fernández Vázquez María del Carmen Ferreira Boo Eliane Aparecida Galvão Ribeiro Ferreira José António Gomes – Carolina González Alvarado Laura Guerrero Guadarrama – Ramón F. Llorens García Jose Manuel López Gaseni – Lourdes Lorenzo Nieves Martín Rogero – Isabel Mociño González Maite Monar van Vliet – Montserrat Morales Mari Jose Olaziregi Alustiza – Alice Áurea Penteado Martha Ana Margarida Ramos – Sara Reis da Silva Alba Rozas Arceo – María Victoria Sotomayor Sáez Vera Teixeira de Aguiar – Maria Zaira Turchi Caterina Valriu Llinás – Celia Vázquez ÍNDICE K Páx 1.
    [Show full text]
  • Nickel and Dimed by Barbara Ehrenreich
    1 NICKEL AND DIMED 2 NICKEL AND DIMED Praise for Nickel and Dimed "A brilliant on-the-job report from the dark side of the boom. No one since H. L. Mencken has assailed the smug rhetoric of prosperity with such scalpel-like precision and ferocious wit." - Mike Davis, author of Ecology of Fear "Eloquent ... This book illuminates the invisible army that scrubs floors, waits tables, and straightens the racks at discount stores." - Sandy Block, USA Today "Courageous ... Nickel and Dimed is a superb and frightening look into the lives of hard- working Americans ... policy makers should be forced to read." - Tamara Straus, San Francisco Chronicle "I was absolutely knocked out by Barbara Ehrenreich's remarkable odyssey. She has accomplished what no contemporary writer has even attempted-to be that `nobody' who barely subsists on her essential labors. Not only is it must reading but it's mesmeric. Bravo!" - Studs Terkel, author of Working "Nickel and Dimed opens a window into the daily lives of the invisible workforce that fuels the service economy, and endows the men and women who populate it with the honor that is often lacking on the job. And it forces the reader to realize that all the good- news talk about welfare reform masks a harsher reality." - Katherine Newman, The Washington Post "With grace and wit, Ehrenreich discovers the irony of being `nickel and dimed' during unprecedented prosperity ... Living wages, she elegantly shows, might erase the shame that comes from our dependence `on the underpaid labor of others.'" - Eileen Boris, The Boston Globe "It is not difficult to endorse Nickel and Dimed as a book that everyone who reads-yes, everyone - ought to read, for enjoyment, for consciousness-raising and as a call to action." - Steve Weinberg, Chicago Tribune "Unflinching, superb ..
    [Show full text]
  • Smash Hits Volume 14
    k. HSIKkmHHHH^H '•-'«s3s ^^^^IMP^™ FORTNIGHTLY %Mm* ," June 14-27 1979 25p ,,, %r BOOMTOWtf TUBES Words to the TOP SINGLES /.•*-*§ including r k » * <«#£. -* # A6 ** *•' ** * ..I \J*- * 1% It <* IfeM <?* *-V *° •a W^ I worked all through the winter Up The The weather brass and bitter I put away a tenner Each week to make her better Junction And when the time was ready We had to sell the telly By Squeeze on A&M Records Make evenings by the fire Her little kicks inside her I never thought it would happen This morning at 4.50 With me and a girl from Clapham I took her rather nifty Out on a windy common Down to an incubator That night I ain't forgotten Where thirty minutes later When she dealt out the rations She gave birth to a daughter With some or other passions Within a year a walker I said you are a lady She looked just like her mother Perhaps, she said, I may be If there could be another We moved into a basement And now she's two years older With thoughts of our engagement Her mother's with a soldier We stayed in by the telly She left me when my drinking * Although the room was smelly Became a proper stinging We spent our time just kissing The devil came and took me The Railway Arms we're missing From bar to street to bookie But love had got us hooked up No more nights by the telly And all our time it took up No more nights nappies smelling I got a job with Stanley Alone here in the kitchen He said I'd come in handy I feel there's something missing And started me on Monday I beg for some forgiveness So I had a bath on Sunday But begging's not my business I worked eleven hours And she won't write a letter And bought the girl some flowers Words and music by Chris Difford/Glenn Although I always tell her She said she'd seen a doctor Tilbrook.
    [Show full text]
  • Golden Boy with Miss Kittin
    Golden Boy Rippin Kittin mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Rippin Kittin Country: UK Released: 2002 Style: House MP3 version RAR size: 1769 mb FLAC version RAR size: 1583 mb WMA version RAR size: 1842 mb Rating: 4.9 Votes: 975 Other Formats: AIFF MP3 VQF FLAC MP1 DTS TTA Tracklist Hide Credits Rippin Kittin (Glove Radiomix) 1 3:47 Remix – GloveRemix, Producer [Additional Production] – Thies Mynther, Tobias Neumann* Rippin Kittin (Vinylasyl Radiomix) 2 4:15 Remix, Producer [Additional Production] – Johannes May, Rene Kirmse, Thomas Döbler Rippin Kittin (Original) 3 4:50 Written-By – Caroline Hervé, Stefan Altenburger Rippin Kittin (Glove Tension Dub) 4 7:41 Remix – GloveRemix, Producer [Additional Production] – Thies Mynther, Tobias Neumann* Companies, etc. Distributed By – Zomba – rtd. 138.4433.3 Pressed By – Sony DADC – A0100404154-0101 Credits Cover – Rike Weiger Photography By – Tina Winkhaus-Kuhn* Barcode and Other Identifiers Barcode: none Matrix / Runout: A0100404154-0101 15 A0 Mastering SID Code: IFPI L555 Mould SID Code: IFPI 949C Rights Society: GEMA Label Code: LC 05661 Other versions Category Artist Title (Format) Label Category Country Year Golden Boy ladomat Golden Boy With Miss Ladomat ladomat With Miss Germany 2001 2123-0 Kittin - Rippin Kittin (12") 2000 2123-0 Kittin Golden Boy Golden Boy With Miss cdilldj007 With Miss Kittin - Rippin Kittin (CD, Illustrious cdilldj007 UK 2002 Kittin Single, Promo) Golden Boy Golden Boy With Miss VENMX 750 Vendetta VENMX 750 With Miss Kittin - Rippin Kittin
    [Show full text]
  • ISSUE 13 El Cine Hispanoamericano July, 2005
    ISSUE 13 El cine hispanoamericano July, 2005 La primera sección de este número de Ciberletras ha estado bajo la dirección de Ernesto Livon-Grosman. Le agradecemos su cooperación y el cuidado especial puesto en la selección de los ensayos. ISSUE 13 El cine hispanoamericano (July 2005) ISSN: 1523-1720 TABLE OF CONTENTS Sección Especial. El cine hispanoamericano • Aída Beaupied Libertad con minúscula y el choteo de los jueces en el cine de Gutiérrez Alea • Rosana Blanco Cano Cuerpos míticos y políticos en descontrol: la gran familia mexicana en el cine del nuevo milenio • Maricruz Castro Ricalde Estrategias de argumentación en la narrativa cinematográfica: El secreto de Romelia (1988) de Busi Cortés • Gerard Dapena The politics of popular memory: Jorge Sanjinés' The Courage of the People • Rosana Díaz El viaje como desintegración y fundación ideológica en Y tu mamá también y Diarios de motocicleta • Cécile François Tangos, el exilio de Gardel o la revolución estética de Fernando Solanas • Leila Gómez El cine de Lucrecia Martel: la Medusa en lo recóndito • Christian Gundermann La libertad entre los escombros de la globalización • Javier Herrera Entre la estética, la política y el cine dentro del cine. El prólogo de Cabra marcado para morrer de Eduardo Coutinho • Reinaldo Laddaga La vida observada. Sobre Dark Room, de Roberto Jacoby • Magdalena López Desterritorialización de la identidad y contracultura: el filme Piñero y la problematización del proyecto nuyorriqueño 2 ISSUE 13 El cine hispanoamericano (July 2005) ISSN: 1523-1720 • Raúl Rubio Political Aesthetics in Contemporary Cuban Filmmaking: Fernando Pérez’s Madagascar and La vida es silbar • Cynthia L.
    [Show full text]
  • Smash-Hits-No-14-197
    I worked all through the winter The weather brass and bitter Up The I put away a tenner Each week to make her better And when tlle tiMt Wat ready Junction We had to sell the telly By Squeeze on A&M Records Make evenings by the fire Her little kicks inside her I never thought It would happen This morning at 4.50 With me and a girl from Clapham I took her rather nifty Out on a windy common Down to an Incubator That night Iain 't forgotten Where thirty minutes later When she dealt out the rations She gave birth to a daughter With some or other passions Within a year a walker I said you are a lady She looked just II ke her mother Perhaps, she said, I may be If there could be another We moved Into a basement And now she's two years older With thoughts of our engagement Her mother's with a soldier We stayed In by the tally She left me when my drinking Although the room was smelly Became a proper stinging We spent our time just kissing The devil came and took me The Railway Arms we're missing From bar to street to bookie But love had got us hooked up No more nights by the telly And all our time it took up No more nights n apples smelling I got• Job with Stanley Alone here In the kitchen He said rd come in handy lfeel there's something ml551ng And started me on Monday I beg for some forglven8" So I had a bath on Sunday But bagging's not my business I worked eleven hours And she won't write a letter And bought the girl some flowers Words and music by Chris Difford/Glenn Although I always tall her She said she'd seen a doctor Ti/brook, Reproduced by permission And so it's my assumption And nothing now could stop her Rondo, Music.
    [Show full text]
  • Short Form Anthology
    CONDENSED SHORT FORM ANTHOLOGY Here follows our compendium of short stories, film scripts, plays and a bibliography that should give you some sense of the possibilities of the short form. The Anthology continues to be a work in progress, and we would be grateful for any suggestions you have for future inclusion in this document. Jerome Gary, Kathy Murphy, and Sven Toorvald, Editors Short Films I. Session Man Seth Winston 3 II. Room 716: The Misbehavers Robert Rodriguez 27 III. The Making Of Killer Kite Screenplay by Bob Gray 55 Story by Mike Wallace IV. Prostitutes Stacy Cochran 81 John 106 V. Screenplay by Jerome A. Nachman Story by J. B. Sugar VI. The Homefront (or A Short Wait Between Trains) Michael Zaidan 126 VII. Maria & Jose Catherine Nilsen 144 VIII. El Santo Screenplay by Ryan Viguerie 160 Story by Ryan Viguerie & Fernando Lebrija IX. What Really Happened During Charlie McNamara 182 the Cuban Missile Crisis X. Inserts Jacqueline D. Hoyt 209 XI. Dogtown Screenplay by Howard Rabinowitz 227 & Gerardo Naranjo Story by Gerardo Naranjo XII. Bender Howard Rabinowitz 238 XIII. Nebraska Olga Zurawska 253 Story & Screenplay I. The Bet Story by Anton Chekhov 261 Screenplay by Rob Waller 267 II. The Girl with a Pimply Face Story by William C. Williams 280 Screenplay by Daryl G. Nickens 290 III. Among the Paths to Eden Story by Truman Capote 302 Screenplay by Eleanor Perry 312 & Truman Capote Short Story & Plays I. Three Hours Between Planes F. S. Fitzgerald 338 II. The Killers Ernest Hemingway 343 Chekhov III. The Wedding, a play Anton 351 IV.
    [Show full text]
  • 6 Anarchists Arrested in Athens
    64 CONTENTS 4 - Saturday 10/4/10 - 6 Anarchists arrested in Athens. 5 - The Philadelphia Experiment. 6 - Defence excerpts from the 6 arrested in the case of the Revolutionary Struggle. 6 - Revolutionary Struggle : A Chronology 7 - A Political Letter to Society. 11 - Lambros is one of us. 12 - A Letter from Christoforos Kortesis. 13 - Letter from Vaggelis Stathopoulos. 14 - Letter from Kostas Gournas. 14 - Some acts of immediate solidarity. 14 - Letter from Sarantos Nikitopoulos 16 - The Only Answer to Modern Totalitarianism is Social Revolution. 18 - More actions of solidarity. 19 - Letter from Pola Roupa. 21 - Maziotis and Gournas declare hungerstrike. 22 - Letter from Kostas Gournas. 23 - Towards the Appeal Court of 1st of November. 23 - Letter from Maria Beraha. 23 - Letter from Nikos Malapanis. 24 - Refusals of the Appeals Court and the Regime. 24 - Lambros, Our Comrade. 25 - Let's Make the Beginning in Greece of a Worldwide Social Revolution. 28 - ...More actions of solidarity. 29 - Responsibility claim for the Tax Office arson in Exarchia. 29 - Announcement of the three members of Revolutionary Struggle. 29 - Denouncement of police intimidation by G.Ch. 30 - The State is the Terrorist. 30 - Distribution of flyers in Abelokipos/Gizi, Athens. 31 - Letter from Sarantos Nikitopoulos. 32 - International Call for Solidarity from Members of Revolutionary Struggle. 34 - Prisoners’ letter in solidarity with those persecuted in the case of the Revolutionary Struggle. 34 - The Revolutionary Struggle trial starts. 36 - Declaration of Revolutionary Struggle upon their release. 37 - October 24 & 1 November 2011 - The beginning of the trial of the regime. 42 - Communique for the Citibank Bombing.
    [Show full text]
  • The Aroostook Times, October 12, 1910
    > T ' \ Houlton, Maine, Wednesday, October 12. 1910. No. 41 one**, went im < leorge. “He --aid t'i.■ us CHAPTER V. I 1 'e'.ir. 1 * iff 1 'tticc rich men back east had women come against liers tic he 1 rt of a rna­ LL three knew the desperate O s to < 'hi around anil clean their linger nails and ! ' ncr who has if at the tape, chance they were taking, and i In- own tailor shine ’em up. Is that right?” felt Ids an as If from they spoke little as they 1 '.11 • bit ,o, i,n.k(* Shon* "Guilt* right!” great l’aflgu* t time neither *c 5* made their wav' out Into tin* Bitter In* pondered T h e "Well, I don’t suppose \ ou ever had spoke. straits Their craft was strange to ■ • ’'■••irin : up s>j\ *t ;iI draf!s which ’em-shine your finger nails, did you?” them, and the j>ositinns they were Ml *.<•* 11 ir him. limilly giving one t.. “ Yes.” TEIL VI. forced to occupy soon brought on ’he "k'croi witii im odd mingling of n r ; - nr privations nnd cramped muscles. The bidarka is a The big man opened his mouth to f If:ii<Ii! y nod defiance. This done, In* - 'von for nothing,” frail, narrow^framework over which is apeak, then, evidently changing his hn a*‘t>ed to oin* of tin* loading banks, SILVER HORDE mind, observed, “Seems to me I'd bet­ I a ** 1 Wayiand when skin, and it is so ami two hours later returned to tin* d recounted tin* his- Author of " ‘The Spoilers’ fashioned that the crew sits, one be­ tor stay here on tin* c< .ast und wait hotel.
    [Show full text]
  • Cléo De Mérode's Postcard Stardom
    Michael Garval Cléo de Mérode's Postcard Stardom Nineteenth-Century Art Worldwide 7, no. 1 (Spring 2008) Citation: Michael Garval, “Cléo de Mérode's Postcard Stardom,” Nineteenth-Century Art Worldwide 7, no. 1 (Spring 2008), http://www.19thc-artworldwide.org/spring08/112-cleo-de- merodes-postcard-stardom. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2008 Nineteenth-Century Art Worldwide Garval: Cléo de Mérode‘s Postcard Stardom Nineteenth-Century Art Worldwide 7, no. 1 (Spring 2008) Cléo de Mérode's Postcard Stardom by Michael Garval I. At 1 o'clock Cléo was ready for her 9 o'clock engagement. She went to the photographer's, where she imposed her ideas of how she should sit, declining all the suggestions that were made to her, refuting all the objections which were made to her, exacting that she should be pictured as she desired. "Her Hair, Her Fingernails and Her Pictures Take Them All. They Delay Everything." —September 1897 newspaper article (New York Public Library clippings file) II. As soon as critics started to heap praise on me, and columnists began to talk about me almost daily, I was invited to pose for the top photographers: Benque, Auguet, Reutlinger, Manuel. When I began to frequent their studios, it was as if, like a sorcerer's apprentice, I had opened floodgates that were impossible to shut. Unscrupulous people copied the best photos, and used them to make an infinite number of postcards.
    [Show full text]
  • OCTOBER 17, 2011 I I I NEWS 1Chrq:Urrrnt VOL
    2 I 'm:ht lturrmt I OCTOBER 17, 2011 I WWW.THECURRENT-ONlINE.COM I I NEWS 1ChrQ:urrrnt VOL. 45, I SUE 1357 WWW.THECURRENT-ONLIE.COM Homecoming:what appens behind EDITORIA L Editor-in-Chief... .......... ........... .... ....... .. ... ..... ... ... Matthew B. Popos ky Managing Ed itor. ... ..... ............................ .. .. ............... .Janaca Scherer News Editor........ ...................... ........... ............ ........ ..... inho Jung the scenes and a litt e bit of history Features Editor. .......... ................. .... .............................Ashley Atkins Sports Editor. .. .... ..................................... ....... ... .. .... .. .Owen Shroyer A&E Editor ......... ... ...................................... .. .. .... .......... Cate Marquis University of Missouri-St. Louis caries on the unique history of Opinions Editor... ....................... .. ....... .. ...... ...... ..... .... Jeremy Zschau Copy Editors .................. ...... ...... ......... Sara Novak, Johanna Hoffarth Homecoming events from University of Missouri - Columbia Staff Writers .................... .. .............. .. .... David von Nordheim, Greg Laine, Yusef Roach, Ryan Krull, Maddie Harned, Endea Wilbert, Angie O'Dell, Eli Dains, Dan Spak, Mavis Hollis, Sha- . ron Pruitt, Joseph Grate, Aladeen Klonowski, Hali Flintrop JOSEPH GRATE Staff W riter DESIGN Photo Editor .......................................................... .Jennifer ~o1eahan Signs of Homecoming Due to a lack of victories Homecoming and I could Krista Hedrick,
    [Show full text]
  • Edvard Munch's Fatal Women
    3*0c EDVARD MUNCH'S FATAL WOMEN: A CRITICAL APPROACH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Barbara Susan Travitz Bimer, B.A. Denton, Texas December 1985 @1986' BARBARA SUSAN TRAVITZ BIMER All Rights Reserved Bimer, Barbara Susan Travitz, Edvard Munch's Fatal Women: A Critical Approach. Master of Arts (Art History), December, 1985, 487 pp., 109 illustrations, bibliography, 212 titles. This study is the first comprehensive analysis of the fatal woman motif in the writings and art of Edvard Munch from the early 1890s to 1909. It uses a background of the women in the artist's life as well as the literary and artistic worlds in which Munch participated. Following separate ac- counts of Munch's relationships with five women, the manner in which the artist characterizes each as a fatal woman in his writings and art is dis- cussed and analyzed. Next, the study describes the fatal woman motif in late nineteenth century art and literature. It begins with a discussion of the origin of the Symbolist and Decadent Movements and an ideological exam- ination of the fatal woman motif as it is manifested in the writing and art of these two groups. In addition, it compares Munch's visual manifes- tations of the femme fatale with the manner in which the artist's contemporaries depicted her. Finally, this study describes two groups of men with whom Munch was particularly close: the Christiania Boheme and the Schwarzen Ferkel Circle.
    [Show full text]