LEADER 03949nam 2200661 450 001 9910466367203321 005 20200520144314.0 010 $a1-4426-5744-8 024 7 $a10.3138/9781442657441 035 $a(CKB)3800000000070348 035 $a(EBL)3296921 035 $a(OCoLC)923099584 035 $a(SSID)ssj0001403389 035 $a(PQKBManifestationID)12612904 035 $a(PQKBTitleCode)TC0001403389 035 $a(PQKBWorkID)11368793 035 $a(PQKB)11723375 035 $a(MiAaPQ)EBC4669985 035 $a(DE-B1597)465585 035 $a(OCoLC)1002272900 035 $a(OCoLC)1004876444 035 $a(OCoLC)1011470084 035 $a(OCoLC)1013940846 035 $a(OCoLC)944178608 035 $a(OCoLC)999362758 035 $a(DE-B1597)9781442657441 035 $a(Au-PeEL)EBL4669985 035 $a(CaPaEBR)ebr11256499 035 $a(OCoLC)904376416 035 $a(EXLCZ)993800000000070348 100 $a20160920h20052005 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aAs for Sinclair Ross /$fDavid Stouck 210 1$aToronto, [Ontario] ;$aBuffalo, [New York] ;$aLondon, [England] :$cUniversity of Toronto Press,$d2005. 210 4$d©2005 215 $a1 online resource (394 p.) 225 0 $aHeritage 300 $aDescription based upon print version of record. 311 $a0-8020-4388-7 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tPreface -- $tAcknowledgments -- $t1. Wild Rose -- $t2. The Housekeeper's Son -- $t3. Bank Clerk -- $t4. Musician -- $t5. Winnipeg -- $t6. Days with Pegasus -- $t7. As for Me and My House -- $t8. War Years -- $t9. Montreal -- $t10. The Well -- $t11. Whir of Gold -- $t12. Tourist -- $t13. Sawbones Memorial -- $t14. Literary Forefather -- $t15. Suicide -- $t16. The Order of Canada -- $tNotes -- $tBibliography -- $tIllustration Credits -- $tIndex 330 $aSinclair Ross (1908-1996), best known for his canonical novel As for Me and My House (1941), and for such familiar short stories as "The Lamp at Noon" and "The Painted Door," is an elusive figure in Canadian literature. A master at portraying the hardships and harsh beauty of the Prairies during the Great Depression, Ross nevertheless received only modest attention from the public during his lifetime. His reluctance to give readings or interviews further contributed to this faint public perception of the man. In As for Sinclair Ross, David Stouck tells the story of a lonely childhood in rural Saskatchewan, of a long and unrewarding career in a bank, and of many failed attempts to be published and to find an audience. The book also tells the story of a man who fell in love with both men and women and who wrote from a position outside any single definition of gender and sexuality. Stouck's biography draws on archival records and on insights gathered during an acquaintance late in Ross's life to illuminate this difficult author, describing in detail the struggles of a gifted artist living in an inhospitable time and place. Stouck argues that when Ross was writing about prairie farmers and small towns, he wanted his readers to see the kind of society they were creating, to feel uncomfortable with religion as coercive rhetoric, prejudices based on race and ethnicity, and rigid notions of gender. As for Sinclair Ross is the story of a remarkable writer whose works continue to challenge us and are rightly considered classics of Canadian literature. 606 $aAuthors, Canadian$y20th century$vBiography 608 $aElectronic books. 615 0$aAuthors, Canadian 676 $aC813.54 700 $aStouck$b David$f1940-$0905267 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910466367203321 996 $aAs for Sinclair Ross$92177383 997 $aUNINA LEADER 05124nam 2200721 450 001 9910464715803321 005 20200520144314.0 010 $a0-8135-6525-1 024 7 $a10.36019/9780813565255 035 $a(CKB)3710000000093130 035 $a(EBL)1651773 035 $a(SSID)ssj0001132344 035 $a(PQKBManifestationID)11702109 035 $a(PQKBTitleCode)TC0001132344 035 $a(PQKBWorkID)11147828 035 $a(PQKB)11414417 035 $a(MiAaPQ)EBC1651773 035 $a(OCoLC)873806710 035 $a(MdBmJHUP)muse31602 035 $a(DE-B1597)526073 035 $a(DE-B1597)9780813565255 035 $a(Au-PeEL)EBL1651773 035 $a(CaPaEBR)ebr10848632 035 $a(EXLCZ)993710000000093130 100 $a20130601h20142014 uy| 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt 182 $cc 183 $acr 200 10$aHolocaust memory reframed $emuseums and the challenges of representation /$fJennifer Hansen-Glucklich 210 1$aNew Brunswick, New Jersey :$cRutgers University Press,$d[2014] 210 4$d©2014 215 $a1 online resource (280 p.) 300 $aDescription based upon print version of record. 311 $a0-8135-6324-0 320 $aIncludes bibliographical references and index. 327 $aZakhor: the task of Holocaust remembrance, questions of representation, and the sacred -- Daniel Libeskind's architecture of absence in the Jewish Museum Berlin -- Architectures of redemption and experience: Yad Vashem and the U.S. Holocaust Memorial Museum -- The artful eye: learning to see and perceive otherwise inside museum exhibits -- "We are the last witnesses:" artifact, aura, and authenticity -- Refiguring the sacred through words, flames, and trains -- Rituals of remembrance: Zionism and pilgrimage on Har Hazikaron and encountering the void in Berlin. 330 $aHolocaust memorials and museums face a difficult task as their staffs strive to commemorate and document horror. On the one hand, the events museums represent are beyond most people's experiences. At the same time they are often portrayed by theologians, artists, and philosophers in ways that are already known by the public. Museum administrators and curators have the challenging role of finding a creative way to present Holocaust exhibits to avoid clichéd or dehumanizing portrayals of victims and their suffering. In Holocaust Memory Reframed, Jennifer Hansen-Glucklich examines representations in three museums: Israel's Yad Vashem in Jerusalem, Germany's Jewish Museum in Berlin, and the United States Holocaust Memorial Museum in Washington, D.C. She describes a variety of visually striking media, including architecture, photography exhibits, artifact displays, and video installations in order to explain the aesthetic techniques that the museums employ. As she interprets the exhibits, Hansen-Glucklich clarifies how museums communicate Holocaust narratives within the historical and cultural contexts specific to Germany, Israel, and the United States. In Yad Vashem, architect Moshe Safdie developed a narrative suited for Israel, rooted in a redemptive, Zionist story of homecoming to a place of mythic geography and renewal, in contrast to death and suffering in exile. In the Jewish Museum in Berlin, Daniel Libeskind's architecture, broken lines, and voids emphasize absence. Here exhibits communicate a conflicted ideology, torn between the loss of a Jewish past and the country's current multicultural ethos. The United States Holocaust Memorial Museum presents yet another lens, conveying through its exhibits a sense of sacrifice that is part of the civil values of American democracy, and trying to overcome geographic and temporal distance. One well-know example, the pile of thousands of shoes plundered from concentration camp victims encourages the visitor to bridge the gap between viewer and victim. Hansen-Glucklich explores how each museum's concept of the sacred shapes the design and choreography of visitors' experiences within museum spaces. These spaces are sites of pilgrimage that can in turn lead to rites of passage. 606 $aMuseum architecture 606 $aHolocaust, Jewish (1939-1945)$xMuseums 606 $aHolocaust, Jewish (1939-1945), and architecture 606 $aMemorialization 606 $aSymbolism in architecture 606 $aHolocaust, Jewish (1939-1945)$xStudy and teaching 606 $aMuseum techniques 608 $aElectronic books. 615 0$aMuseum architecture. 615 0$aHolocaust, Jewish (1939-1945)$xMuseums. 615 0$aHolocaust, Jewish (1939-1945), and architecture. 615 0$aMemorialization. 615 0$aSymbolism in architecture. 615 0$aHolocaust, Jewish (1939-1945)$xStudy and teaching. 615 0$aMuseum techniques. 676 $a940.53/18074 700 $aHansen-Glucklich$b Jennifer$01032849 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910464715803321 996 $aHolocaust memory reframed$92450952 997 $aUNINA