Coordinates: 56°00′10″N 2°31′01″W / 56.002725°N 2.516901°W / 56.002725; -2.516901
Dunbar (Scotts [dʊnˈbaɾ] ( listen)) is a town in East Lothian on the southeast coast of Scotland, approximately 28 miles (45 km) east of Edinburgh and 28 miles (45 km) from the English Border at Berwick-upon-Tweed.
Dunbar is a former Royal Burgh and gave its name to an ecclesiastical and civil parish. The parish extends around 7½ miles east to west and is 3½ miles deep at greatest extent (12 x 5.5 kilometres) or 11¼ square miles (c. 3000 hectares) and contains the villages of West Barns, Belhaven, East Barns (abandoned) and several hamlets and farms.
Its strategic position gave rise to a history full of incident and strife but Dunbar has become a quiet dormitory town popular with workers in nearby Edinburgh, who find it an affordable alternative to the capital itself. Until the 1960s the population of the town was little more than 3,500.
The town is served by Dunbar railway station. Dunbar is home to the Dunbar Lifeboat Station, the second oldest RNLI station in Scotland.
Plot
Katherine Ann Watson has accepted a position teaching art history at the prestigious Wellesley College. Watson is a very modern woman, particularly for the 1950s, and has a passion not only for art but for her students. For the most part, the students all seem to be biding their time, waiting to find the right man to marry. The students are all very bright and Watson feels they are not reaching their potential. Altough a strong bond is formed between teacher and student, Watson's views are incompatible with the dominant culture of the college.
Keywords: 1950s, adultery, advertisement, air-conditioning, alumni, anxiety, apron, art, art-history, artist
In a world that told them how to think, she showed them how to live.
In einer Welt, die ihnen vorschrieb, wie man lebt, lehrte sie sie, wie man denkt. (In a world that told them how to live, she taught them how to think.)
They had everything. She showed them more.
Katherine Watson: Since your wedding, you've missed six classes, a paper and your midterm.::Betty Warren: I was on my honeymoon and then I had to set up house. What does she expect?::Katherine Watson: Attendance.::Connie Baker: [timidly] Most of the faculty turn their heads when the married students miss a class or two.::Katherine Watson: Well then why not get married as freshman? That way you could graduate without actually ever stepping foot on campus.::Betty Warren: Don't disregard out traditions just because you're subversive.::Katherine Watson: Don't disrespect this class just because you're married.::Betty Warren: Don't disrespect me just because you're not.::Katherine Watson: Come to class, do the work, or I'll fail you.::Betty Warren: If you fail me, there will be consequences.::Katherine Watson: Are you threatening me?::Betty Warren: I'm educating you.::Katherine Watson: That's *my* job.
Katherine Watson: It's brilliant, really. A perfect ruse. A finishing school disguised as a college. Well, they got me.::Bill Dunbar: What do you expect?::Katherine Watson: More! I thought I was headed to a place that would turn out tomorrow's leaders, not their wives!
Katherine Watson: Look beyond the paint. Let us try to open our minds to a new idea.
Katherine Watson: I don't think I can go a year without a hot plate.
[about the Mona Lisa]::Betty Warren: [ironically] Look at this, mother. She's smiling. Is she happy?::Mrs. Warren: The important thing is not to tell anyone.::Betty Warren: She looks happy, so what does it matter?
[last lines]::Betty Warren: [in Betty's last editorial] Not all who wander are aimless. Especially not those who seek truth beyond tradition, beyond definition, beyond the image.::Taxi Driver: Get the hell out of the way.::Betty Warren: I'll never forget you.
Betty Warren: Dear Betty, I came to Wellesley because I wanted to make a difference. But to change for others is to lie to yourself. My teacher, Katherine Watson, lived by her own definition and would not compromise that, not even for Wellesley. I dedicate this, my last editorial, to an extraordinary woman, who lived by example and compelled us all to see the world through new eyes. By the time you read this, she'll be sailing to Europe, where I know she'll find new walls to break down, and new ideas to replace them with.::[snapshot]::Betty Warren: I've heard her called a quitter for leaving and aimless wanderer. But not all who wander are aimless, especially those who seek truth beyond tradition, beyond definition, beyond the image. I'll never forget you.
Betty Warren: [in Betty's second editorial] Wellesley girls who are married have become quite adept at balancing their obligations. One hears such comments, as - I'm able to baste the chicken with one hand and outline the paper with the other. While our mothers were called to workforce for Lady Liberty. It is our duty- nay, obligation to reclaim our place in the home, bearing the children that will carry our traditions into the future. One must pause to consider why Miss Katherine Watson, instructor in the art history department has decided to declare war on the holy sacrament of marriage. Her subversive and political teachings encourage our Wellesley girls to reject the roles they were born to fill.
Katherine Watson: From the beginning, man has always had the impulse to create are. Can anyone tell me what this?::Joan Brandwyn: "Wounded Bison", Altameera, Spain, about 1500 BC.::Katherine Watson: Very good, Joan. Despite the age of these paintings, they are technically very sophisticated...::Joan Brandwyn: Because of the shading, and the thickness of the lines as it moves over the hump of the bison. Is that right?::Katherine Watson: Yes, that's exactly right. Next slide. This one, you are probably less familiar with. It was discovered by archaeologists in...::Betty Warren: [dryly] 1879, Lascaux, France, dates back to 10 000 BC, singled out because of the flowing lines depicting the movement of the animal.::[the class laughs]::Katherine Watson: Impressive. Name?::Betty Warren: "Herd of Horses."::Katherine Watson: I meant yours.::Giselle Levy: We call her Flicka.
Dr. Edward Staunton: I'm curious about the subject of your dissertation. You suggest 'Picasso will do for the twentieth century what Michael Angelo did for the renaissance"?::Katherine Watson: In terms of influencing movements.::Dr. Edward Staunton: So, these canvases they're turning out these days with paint dripped and splotched on them, they're as worthy of our attention as Michael Angelo's Sistine Chapel?::Katherine Watson: I'm not comparing them.