They Fled Hitler's Germany and Found Refuge in North Carolina

Total Page:16

File Type:pdf, Size:1020Kb

They Fled Hitler's Germany and Found Refuge in North Carolina Southern Research Report #8 They Fled Hitler's Germany and Found Refuge in North Carolina LSC Spring 1996 Academic Affairs Library Center for the Study of the American South IRSS Faculty Working Group in Southern Studies The silhouette on the cover is one of the earliest representa- tions of the University of North Carolina at Chapel Hill. Cut by Mrs. William Hooper in 1814, it is part of the Graves Papers in the Southern Historical Collection. The original silhouette is on display in the Manuscripts Department, Wilson Library, the University of North Carolina at Chapel Hill. The Department houses not only the Southern Histori- cal Collection, but also the University Archives. This publications was made possible with support from: Randleigh Foundation Trust Kenan Foundations Southern Historical Collection Southern Research Report #8 They Fled Hitler's Germany and Found Refuge in North Carolina Editors Henry A. Landsberger Christoph E. Schweitzer Photo Editor Frances B. Schultzberg Spring 1996 Academic Affairs Library Center for the Study of the American South IRSS Faculty Working Group in Southern Studies Prepared for the Academic Affairs Library Center for the Study of the American South Faculty Working Group in Southern Studies of the University of North Carolina at Chapel Hill With support from the North Carolina Humanities Council German Academic Exchange Service Randleigh Foundation Trust Southern Historical Collection Please send inquiries to David Moltke-Hansen [email protected] CB# 3926, Wilson Library University of North Carolina, Chapel Hill Chapel Hill, NC 27514-8890 THEY FLED HITLER'S GERMANY AND FOUND REFUGE IN NORTH CAROLINA Henry A. Landsberger and Christoph E. Schweitzer, Editors Frances B. Schultzberg, Photo Editor Preface 7 Introduction by Christoph E. Schweitzer and Henry A. Landsberger 9 America and North Carolina Respond by Henry A. Landsberger 11 Duke University Opens its Doors by William E. King 25 Ernst Moritz Manasse: A Black College Welcomes a Refugee by Christoph E. Schweitzer 41 Welcoming the New Arrivals to Chapel Hill by Edward M. Bernstein 51 Carolina Vignettes: Alfred T. Brauer, mathematician by Henry A. Landsberger 61 W. David Falk, philosopher by Jeanette L. Falk 69 Ernst Morwitz, German literature by Sidney R. Smith 75 Clemens Sommer, art historian by Joseph C. Sloane 83 The Arts: Justus Bier, Second Director, N.C. Museum of Art by Margret Kentgens-Craig 91 Edith London, painter by Henry A. Landsberger 105 Black Mountain College & its Cosmopolitan Faculty by Mary Emma Harris 115 Edward Danzinger - Papa D by James Shumaker 135 List of Contributors 141 Illustrations Frank Porter Graham 13 William Few 26 William Stern 31 Fritz London 35 Ernst Moritz Manasse 42 Ernst Moritz Manasse 45 Ernst Moritz Manasse, in study, after retirement 47 Edward Bernstein 53 Edward Bernstein, with economics faculty 55 Edward Bernstein, with wife Edith 58 Alfred Brauer 62 David Falk, with students 70 Clemens Sommer, in faculty meeting 85 Clemens Sommer 88 Justus Bier 92 Edith London 107 Josef Albers 117 Anni Albers 118 Josef Albers 120 Josef Albers 123 Heinrich Jalowetz 125 Edward Danzinger 136 Mrs. Roosevelt at Danzinger's 137 Edward Danzinger, Papa D 139 Preface The fiftieth anniversaries of different World War II events have helped open the floodgates to memories by participants and sparked questions by members of younger generations. Most North Carolinians do not know that their state received war refugees or that many of these brought distinguished reputa- tions with them and contributed significantly to their adopted home. This issue of the Southern Research Report bears witness to this neglected chapter in North Carolina's World War II his- tory. Drawn from an exhibition and conference funded in part by the North Carolina Humanities Council, They Fled Hitler's Germany is published with additional support from the Coun- cil and with significant funding from the German Academic Exchange Service. The Randleigh Foundation Trust supports the entire Southern Research Report series and the Center for the Study of the American South staff ably brought this issue to production, thanks to funding from the Office of the Provost and the William Rand Kenan Trust. Digitized by the Internet Archive in 2013 http://archive.org/details/theyfledhitlersgOOIand Introduction by Christoph E. Schweitzer and Henry A. Landsberger The idea for the essays in this volume goes back to a sympo- sium held on March 18 and 19, 1994 under the auspices of the Department of Germanic Languages and Literatures at the Uni- versity of North Carolina at Chapel Hill in connection with the University's Bicentennial Observance. Siegfried Mews, chair of the department at the time, and Christoph E. Schweitzer, a retired member of the department and one of the editors of this volume, organized a two-day symposium on "The German Pres- ence in North Carolina: Past and Present". One of its panels, entitled "They left Hitler's Germany," was chaired by Henry A. Landsberger of the University's Department of Sociology, the other editor. Landsberger and Schweitzer soon agreed that the papers presented on the panel dealing with refugees from Nazi Germany, if expanded and supplemented by a further set of specially commissioned papers, should be preserved in print. They began to prepare a collection of essays with the title "They fled Hitler's Germany and Found Refuge in North Carolina" and were delighted when both the North Carolina Humanities Council and the German Academic Exchange Service (DAAD) pledged their support for both a much enlarged symposium on the topic and the preparation and printing of the collection of papers resulting from it. The symposium was sponsored by the Cultural Develop- ment Committee of the Durham/Chapel Hill Jewish Federa- tion and was held on the evening of Sunday, April 23, 1995 at Judea Reform Synagogue in Durham, just a year after the origi- nal panel. An audience of well over one hundred persons of widely diffferent backgrounds and affiliations attended the widely publicized event which began, an hour and a half before the symposium itself, with the opening of an impressive exhibit of photographs of the refugees featured in the various sympo- sium papers. The exhibit was organized by Frances B. Schultzberg, an artist and experienced organizer of exhibitions, and a selection from her exhibit is included in this volume. They Fled Hitler's Germany With this volume, we want to pay tribute not only to those who came here as refugees and had to rebuild their interrupted lives and careers in an environment, and a language, very differ- ent from that to which they had been accustomed. We want to pay tribute also to those many North Carolinians whose con- cern for these refugees and whose efforts on their behalf made it possible for them to settle here. In all probability, many more persons were helpful than those named in the various essays and even when the name and some detail of what these helpers did are known, there is often insufficient documentation to do them full justice. Nor do the refugees whose fate is described in this volume encompass all those who settled here. With the ex- ception noted below, we decided to focus this volume prima- rily on those who had arrived here in the 1930s and 1940s and contributed to the academic and artistic life in the Chapel Hill, Durham and Raleigh area. However, given the importance of the presence of refugees from Nazi Germany at Black Moun- tain College, we asked Mary Emma Harris to contribute a pa- per on that aspect of the history of that famous college. We wish to thank Bert Chessin, chair of the Cultural De- velopment Committee of the Durham/Chapel Hill Jewish Fed- eration for the support he gave the project from its initial stage to the printing of this volume. The contribution of the German Academic Exchange Service, University of North Carolina's Bi- centennial Observance Committee and of the North Carolina Humanities Council, especially its program diretor, Dr. Harlan Gradin, made the preparation of the book and its printing pos- sible. We are most grateful to David Moltke-Hansen for having accepted the collection as "Southern Research Report #8." Henry A. Landsberger Christoph E. Schweitzer They Fled Hitler's Germany 10 1 America and North Carolina Respond by Henry A. Landsberger I. Introduction In the first months of 1995. we commemorated the 5C" anniver- sary of the liberation of the extermination- and concentration camps in 1945: of Auschwitz-Birkenau in January of that year; of Buchenwald in March; then of Bergen-Belsen, Dachau, Ravensbrueck and others. But it was eleven years earlier, in 1934, that an event less tinged with sorrow took place, one symboli- cally similar to what we commemorate in this volume. For it was in 1934 that the "University in Exile" for displaced German scholars in the social sciences and humanities, later to become the Graduate Faculty of the Xew School for Social Research was founded in Xew York City by the School's then director. Alvin Johnson. Johnson, a legendary progressive at the univer- sity level and a friend of John Dewey's, had a special interest in the more innovative trends in German academia toward which major figures on the academic scene in the United States had steadily looked ever since the end of the last century. Jews were heavily represented in these innovative, progressive trends: for example, among the neo-Marxists of the Frankfurt School of sociology and philosophy, as well as in socially-oriented psycho- analytic thinking. And just one year earlier, in May 1933. Xew York University's Institute of Fine Arts had given a permanent faculty position to its first art historian, the distinguished Erwin Panofsky. already on leave there from the University of Ham- burg.
Recommended publications
  • Weaverswaver00stocrich.Pdf
    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • 17 by Francis Mallett and Simon Obert on 20 June 1962 Johanna
    Beiträge A Case of Mistaken Identity? The Jalowetz Portrait by Richard Gerstl by Francis Mallett and Simon Obert On 20 June 1962 Johanna Jalowetz, the widow of the conductor and Schoenberg pupil Heinrich Jalowetz (d. 1946), wrote a letter to the art historian Otto Breicha. In those years Breicha was conducting research into the painter Richard Gerstl, in particular gathering information for a cata- logue of his works. In this connection he turned to Johanna Jalowetz, knowing that she owned “a painting by the artist.”1 Johanna Jalowetz re- sponded to his questions by noting that she possessed a Gerstl self-portrait, a “pointillist drawing” in ink on paper that probably “dates from the year 1906/7.” It bore, she continued, an “extraordinary resemblance” to the artist and was “a gift from him.”2 But she then added a paragraph whose contents can only have taken Breicha by surprise: At the same time, Gerstl painted to order a life-size three-quarter-length oil portrait of my husband in a pointillist technique. When we moved away from Vienna we left the said portrait for safekeeping with a relative, Alois Kurzweil. Our many changes of residence (at that time an opera conductor’s lot) made it impossible for us to look after the painting. And by the time we became more settled, after the First World War, we had lost all contact with and trace of Alois Kurzweil.3 1 Otto Breicha, letter of 4 June 1962 to Johanna Jalowetz, carbon copy in the Otto Breicha Archive, Leopold Museum, Vienna. We wish to thank Dominik Papst of the Leopold Museum for making available to us this and the following letter (see note 3).
    [Show full text]
  • Return of Palestinian Refugees to the State of Israel
    Position Paper Return of Palestinian Refugees to the State of Israel Yaffa Zilbershats and Nimra Goren-Amitai Editor: Ruth Gavison Translated from Hebrew The Metzilah Center for Zionist, Jewish, Liberal and Humanist Thought Jerusalem, 2011 Return of Palestinian Refugees to the State of Israel Yaffa Zilbershats and Nimra Goren-Amitai Editor of the Series: Ruth Gavison Translation: Dr. Rachel Rimon Translation editor: Allan Arkush Copy editor: Esther Rosenfeld Production Coordinator: Tali Lipschitz Graphics: Adi Rubin The contents of this position paper do not necessarily represent the position of the Metzilah Center and are solely the responsibility of the authors. © All rights reserved to the Metzilah Center for Zionist, Jewish, Liberal and Humanist Thought Jerusalem, February 2011 For orders: Metzilah Center, P.O. Box 8435, Jerusalem 91083 Tel: 077– 4020771 Email: [email protected] www.metzilah.org.il The Metzilah Center was founded in 2005 to address the growing tendency among Israelis and Jews worldwide to question the legitimacy of Jewish nationalism and its compatibility with universal values. We believe that Zionism and a liberal worldview can and must coexist; that public discourse, research and education hold the key to the integration of Zionism, Jewish values and human rights in the Jewish state; and that the integration of these values is critical for the lasting welfare of Israel and the Jewish people worldwide. Metzilah aims at disseminating knowledge, deepening the understanding and awakening the public discourse in the areas that we deem are the core issues facing the citizens of Israel and the Jewish people worldwide. These key issues include: the Jewish people’s right to national self-determination in (part of) the Land of Israel; contemporary Jewish identities; the complex nature of Israeli society; and the preservation of human rights for all Israeli citizens and residents.
    [Show full text]
  • The Factory of Visual
    ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving.
    [Show full text]
  • Tarheel Junior Historian
    Tar Heel Junior Historian Association Carolina's Mountain Region History Journal For Inquiring Students A Fall 197 tar heel junior historian Gltaitel Gltallie's QltaU The Tar Heel Junior Historian Association is making history this year by celebrating its twenty-fifth anniversary. Special plans are being made for the "biggest and best" Awards Day ever. It will be held at Meredith College in Raleigh on May 18 and 19. You can start now by making a placard on poster board paper with Placard means a notice, your club name on it. This placard should be 14 inches high usually displayed on by 22 inches wide. Use your imagination to draw a design a sign or poster. that represents either your club or the historical events associated with your community. Prizes will be given for outstanding ones. Also, newly designed membership cards and special Tar Heel Junior Historian recruiting posters will soon be sent to you. Use them to help us recruit new members in this special anniversary year! Visual history is both an exciting detective game and a learning experience for junior historians. Service to the community is its own reward. Junior historians have put many thousands of hours into such work and have received national recognition for their efforts. To help you to plan for the coming Awards Day and to remind you of all the activities of last May, be sure to read the article "Awards Day 1977" in this issue. In that article, please pay particular attention to the ideas for Recruit means to get or enlist.
    [Show full text]
  • A Heretic in the Schoenberg Circle: Roberto Gerhard's First Engagement with Twelve-Tone Procedures in Andantino
    Twentieth-Century Music 16/3, 557–588 © Cambridge University Press 2019. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi: 10.1017/S1478572219000306 A Heretic in the Schoenberg Circle: Roberto Gerhard’s First Engagement with Twelve-Tone Procedures in Andantino DIEGO ALONSO TOMÁS Abstract Shortly before finishing his studies with Arnold Schoenberg, Roberto Gerhard composed Andantino,a short piece in which he used for the first time a compositional technique for the systematic circu- lation of all pitch classes in both the melodic and the harmonic dimensions of the music. He mod- elled this technique on the tri-tetrachordal procedure in Schoenberg’s Prelude from the Suite for Piano, Op. 25 but, unlike his teacher, Gerhard treated the tetrachords as internally unordered pitch-class collections. This decision was possibly encouraged by his exposure from the mid- 1920s onwards to Josef Matthias Hauer’s writings on ‘trope theory’. Although rarely discussed by scholars, Andantino occupies a special place in Gerhard’s creative output for being his first attempt at ‘twelve-tone composition’ and foreshadowing the permutation techniques that would become a distinctive feature of his later serial compositions. This article analyses Andantino within the context of the early history of twelve-tone music and theory. How well I do remember our Berlin days, what a couple we made, you and I; you (at that time) the anti-Schoenberguian [sic], or the very reluctant Schoenberguian, and I, the non-conformist, or the Schoenberguian malgré moi.
    [Show full text]
  • California and the Fiber Art Revolution
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 California and the Fiber Art Revolution Suzanne Baizerman Oakland Museum of California, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Baizerman, Suzanne, "California and the Fiber Art Revolution" (2004). Textile Society of America Symposium Proceedings. 449. https://digitalcommons.unl.edu/tsaconf/449 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. California and the Fiber Art Revolution Suzanne Baizerman Imogene Gieling Curator of Crafts and Decorative Arts Oakland Museum of California Oakland, CA 510-238-3005 [email protected] In the 1960s and ‘70s, California artists participated in and influenced an international revolution in fiber art. The California Design (CD) exhibitions, a series held at the Pasadena Art Museum from 1955 to 1971 (and at another venue in 1976) captured the form and spirit of the transition from handwoven, designer textiles to two dimensional fiber art and sculpture.1 Initially, the California Design exhibits brought together manufactured and one-of-a kind hand-crafted objects, akin to the Good Design exhibitions at the Museum of Modern Art in New York City.
    [Show full text]
  • Black Mountain Research
    Black Mountain Research ein Buchprojekt von Annette Jael Lehmann unter Mitarbeit von Verena Kittel und Anna-Lena Werner / a book project by Annette Jael Lehmann with the assistance of Verena Kittel and Anna-Lena Werner introduction Annette Jael Lehmann and Anna-Lena Werner The practice-based research project Black they unite theoretical and curatorial endeavors tions outside North America. At the threshold of eventually successful and became a worldwide Mountain Research was a collaborative project into – well…what exactly? In other words: How art and pedagogy, liberal and pioneering in their architectural model only a few decades later. by Freie Universität Berlin and Hamburger could students, scholars, curators and artists curriculum, the educational institution revolu- Trial and error or even failure became at times Bahnhof – Museum für Gegenwart – Berlin cooperate within one project? As a small team tionized models of academic teaching and lear- liberating forces at the college, opposing a pre- (2013-2015) that was developed along the muse- based at the Institute for Theater Studies at ning and fostered crucial strategies to contribute determined path towards knowledge, actions um exhibition ‘Black Mountain. An Interdiscip- Freie Universität Berlin – namely Verena Kittel, to a development that could now be described or results. The necessity of making mistakes, as linary Experiment 1933 – 1957’ (from 05.06. to Annette Jael Lehmann, and Anna-Lena Werner as practice-based research. Having an extensive Buckminster Fuller has prominently
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE COMPLETED SYMPHONIC COMPOSITIONS OF ALEXANDER ZEMLINSKY DISSERTATION Volume I Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Robert L.
    [Show full text]
  • No Haven for the Oppressed
    No Haven for the Oppressed NO HAVEN for the Oppressed United States Policy Toward Jewish Refugees, 1938-1945 by Saul S. Friedman YOUNGSTOWN STATE UNIVERSITY Wayne State University Press Detroit 1973 Copyright © 1973 by Wayne State University Press, Detroit, Michigan 48202. All material in this work, except as identified below, is licensed under a Creative Commons Attribution-NonCommercial 3.0 United States License. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/3.0/us/. Excerpts from Arthur Miller’s Incident at Vichy formerly copyrighted © 1964 to Penguin Publishing Group now copyrighted to Penguin Random House. All material not licensed under a Creative Commons license is all rights reserved. Permission must be obtained from the copyright owner to use this material. Published simultaneously in Canada by the Copp Clark Publishing Company 517 Wellington Street, West Toronto 2B, Canada. Library of Congress Cataloging in Publication Data Friedman, Saul S 1937– No haven for the oppressed. Originally presented as the author’s thesis, Ohio State University. Includes bibliographical references. 1. Refugees, Jewish. 2. Holocaust, Jewish (1939–1945) 3. United States— Emigration and immigration. 4. Jews in the United States—Political and social conditions. I. Title. D810.J4F75 1973 940.53’159 72-2271 ISBN 978-0-8143-4373-9 (paperback); 978-0-8143-4374-6 (ebook) Publication of this book was assisted by the American Council of Learned Societies under a grant from the Andrew W. Mellon Foundation. The publication of this volume in a freely accessible digital format has been made possible by a major grant from the National Endowment for the Humanities and the Mellon Foundation through their Humanities Open Book Program.
    [Show full text]
  • Kenneth Raper, Elisha Mitchell And<Emphasis Type="Italic
    Perspectives Kenneth Raper, Elisha Mitchell and Dictyostelium EUGENE R KATZ Department of Molecular Genetics and Microbiology, Stony Brook University, Stony Brook, NY 11794, USA (Email, [email protected]) 1. Introduction forms the fruiting body. The fruiting body, a small plant-like structure about a millimetre tall, basically consists of only Dictyostelium discoideum has become an important organism two kinds of cells, stalk cells in the stalk and spore cells con- in the study of modern cellular and developmental tained in a droplet of liquid above the stalk. Although mod- biology (Kessin 2001). The most recent International ern work has shown that there are several cellular subtypes, Dictyostelium Conference, held outside Grenoble, France Raper’s view was essentially correct. Furthermore, under a last summer, was attended by more than 150 scientists from given set of nutritional and environmental conditions, the thirteen countries. D. discoideum is a member of a group of ratio of spore cells to stalk cells in the fruiting body is fixed, organisms known as the cellular slime moulds. Cellular with spores representing about 80% of the cells and stalk slime moulds were first described in the second half of cells 20%. Since both spore cells and stalk cells derive from the nineteenth century but their potential as model organisms amoebae, Raper was interested in understanding how the only began to be appreciated with the isolation of the amoebae made the decision about which of the two cell types D. discoideum species by Kenneth Raper in 1933. Raper was, to become. He thought it could be a model for how cell fate at the time, working for the United States Department of decisions are made during the embryogenesis of higher Agriculture as a mycologist.
    [Show full text]
  • Alban Berg's Filmic Music
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Alban Berg's filmic music: intentions and extensions of the Film Music Interlude in the Opera Lula Melissa Ursula Dawn Goldsmith Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Goldsmith, Melissa Ursula Dawn, "Alban Berg's filmic music: intentions and extensions of the Film Music Interlude in the Opera Lula" (2002). LSU Doctoral Dissertations. 2351. https://digitalcommons.lsu.edu/gradschool_dissertations/2351 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]. ALBAN BERG’S FILMIC MUSIC: INTENTIONS AND EXTENSIONS OF THE FILM MUSIC INTERLUDE IN THE OPERA LULU 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 College of Music and Dramatic Arts by Melissa Ursula Dawn Goldsmith A.B., Smith College, 1993 A.M., Smith College, 1995 M.L.I.S., Louisiana State University and Agricultural and Mechanical College, 1999 May 2002 ©Copyright 2002 Melissa Ursula Dawn Goldsmith All rights reserved ii ACKNOWLEDGMENTS It is my pleasure to express gratitude to my wonderful committee for working so well together and for their suggestions and encouragement. I am especially grateful to Jan Herlinger, my dissertation advisor, for his insightful guidance, care and precision in editing my written prose and translations, and open mindedness.
    [Show full text]