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1
Williams-Hogan, Jane. "Influence of Emanuel Swedenborg’s Religious Writings on Three Visual Artists." Nova Religio 19, no. 4 (May 1, 2016): 119–44. http://dx.doi.org/10.1525/nr.2016.19.4.119.
Повний текст джерелаАнотація:
Emanuel Swedenborg (1688–1772) claimed to be an eyewitness to the Apocalypse. Called to be “Servant of the Lord,” he wrote eighteen works in which he defined a new Christianity. While he never formed a church, he distributed his books widely throughout Europe. They stimulated some people to found new religious organizations, some to write in new poetic and literary forms, and others to revolutionize sculpture and painting. These artists found in Swedenborg’s works a vibrant source of a new aesthetic vision. The elements of Swedenborg’s theology that helped to shape that new aesthetic are presented here, as well as the application of different aspects of it in the works of three artists: the English sculptor John Flaxman (1755–1826); the French Symbolist painter Paul Gauguin (1848–1903); and American sculptor Lee Bontecou (b. 1931). Each artist attempts to capture the spiritual reality that Swedenborg portrayed as existing behind and within the natural phenomenal world.
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Jacoby, Roberto. "Selected Writings." October 153 (July 2015): 14–41. http://dx.doi.org/10.1162/octo_a_00225.
Повний текст джерелаАнотація:
This selection of texts by the Argentinean artist Roberto Jacoby includes seven that are here published in English for the first time, and two others rendered in new translations. The majority of the texts (all but three) were written in the 1960s. Some, such as “Scale Model of an Artwork” (1966), “Automatic Circuit (work no. 1 for Telephone Circuit)” (1967), and “Message at the Di Tella Institute” (1968), are short descriptions of artworks. Another, “An Art of Communications Media (Manifesto)” (1967), takes the form of a manifesto, co-written by Jacoby and two other artists. “Demonstration: A Mass Media Artwork” (1967) touches on various issues topical in the mid-1960s art world in Argentina and beyond, including the relationship between art and life, society, and politics, and “Against the Happening” (1967) considers an art that harnesses the mass media for its production. The section also includes translations of song lyrics written by Jacoby that link intimate themes of love with international politics. The songs were put to music and recorded by the Argentinian rock group Virus for its fifth record, “Surfaces of Pleasure” (1987). The section concludes with “Strategy of Joy” (2000), an article that theorizes a biopolitical form of resistance to the civil-military dictatorship that brutalized the Argentinian population in the 1970s and early 1980s, and “Report on the Venus Project” (2002), which focuses on an experimental community formed in the midst of the social, economic and political crisis that befell Argentina in the summer of 2001, and, according to some, is ongoing.
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Subbiondo, Joseph L. "Lexicography and the Evolution of Consciousness." Historiographia Linguistica 30, no. 3 (December 31, 2003): 407–27. http://dx.doi.org/10.1075/hl.30.3.07sub.
Повний текст джерелаАнотація:
Summary Owen Barfield (1898–1997), a cultural critic and historian, has been appreciated by literary scholars and artists including C. S. Lewis, T. S. Eliot, and W. H. Auden, but he has been relatively unnoticed by linguists despite the fact that he advanced a thoughtfully reasoned and documented theory of language history throughout his many writings. In his theory of etymological semantics, Barfield asserted that the etymology of words reveals an evolution of human consciousness. Barfield’s relationship between language and consciousness is significant to the history of linguistics because he not only described what changed in a language’s history, but he also explained why it changed. In his seminal History in English Words (1926), a book written at the beginning of his nearly 70-year career as a scholar and writer, Barfield initially presented his theory with examples from the history of English beginning with its origins in Indo-European. This theory became a central and unifying theme in all of his work – a theory which he refined and expanded in many later writings, especially in Poetic Diction (1928), Speaker’s Meaning (1967), and History, Guilt, and Habit (1979).
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Sewell, Frank. "“Going Home to Russia”? Irish Writers and Russian Literature." Studia Celto-Slavica 1 (2006): 239–51. http://dx.doi.org/10.54586/vrzx4817.
Повний текст джерелаАнотація:
The poet Josef Brodski once wrote: ‘I’m talking to you but it isn’t my fault if you can’t hear me.’ However, Brodski and other Russian writers, thinkers and artists, continue to be heard across gulfs of language, space and time. Indeed, the above line from Brodski forms the epigraph of ‘Travel Poem’, originally written in Polish by Anna Czeckanowicz. And just as Czeckanowicz picks up on Brodski’s ‘high talk’ (as Yeats might call it), so too do Irish writers (past and present) listen in, and dialogue with, Russian counterparts and exemplars. Some Irish writers go further and actually claim to identify with Russian writers, and/or to identify conditions of life in Ireland with their perception of life in Russia. Paul Durcan, for example, entitled a whole collection of poems Going Home to Russia. Russia feels like ‘home’ to Durcan partly because he is one example of the many Irish writers who have listened in very closely to Russian writing, and who have identified with aspects of what they find in Russian culture. Another example is the poet Medbh McGuckian who has looked to earlier Russian literature for examples of women artists who ‘dedicated their lives to their craft’, who ‘never disgraced the art’, who created timeless works in the face of conflict and suffering: she refers particularly to Anna Akhmatova and, especially, Marina Tsvetaeva. Contemplating and dialoguing with her international sisters in art, McGuckian finds a means of communicating matters and feelings that are ‘closer to home’, culturally and politically (including the politics of gender). Ireland’s most famous poet Seamus Heaney has repeatedly engaged with Russian writings: especially those of Anton Chekhov and Osip Mandelstam. The former is recalled in the poem ‘Chekhov on Sakhalin’, a work taut with tension between an artist’s ‘right to the luxury of practising his art’, and the residual ‘guilt’ which an artist may feel and only possibly discharge by giving ‘witness’, at least, to the chains and flogging of the downtrodden. On the other hand, Mandelstam, for Heaney, is a model of artistic integrity, freedom and courage, a bearer of the sacred, singing word, compared by the Irish poet to an on-the-run priest in Penal days. In this conference paper, I will outline some of the impact and influence that Russian writers have had on Irish writers (who write either in English or in Irish). I will point to some of the lessons and tactics that Irish writers have learnt and adopted from their Russian counterparts: including Cathal Ó Searcaigh’s debt to Yevgenii Yevtushenko, Máirtín Ó Cadhain’s to Maxim Gorki, Máirtín Ó Direáin’s to Aleksandr Blok, and Padraic Ó Conaire’s to Lev Tolstoi, etc.
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Lea, D. "Writing the Artist." English 47, no. 187 (March 1, 1998): 66–69. http://dx.doi.org/10.1093/english/47.187.66.
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Reshu Shukla. "Resounding Resistance: A Critical Assessment of Women’s Contributions in Shaping the Literary Cosmos." Creative Saplings 2, no. 05 (August 25, 2023): 37–52. http://dx.doi.org/10.56062/gtrs.2023.2.05.361.
Повний текст джерелаАнотація:
Women, the glorious creation of God, have contributed magnificently to the growth of human civilization performing distinctive roles as well as holding influential positions miraculously throughout the history of humanity. India's illustrious past passionately and proudly tells the inspirational stories of strong, independent women who glorified our society and culture with their forceful presence. If we look at the contributions that they have made throughout the history of human civilization, we can see that they have contributed in a variety of ways to the formation of society as a whole. They personify "Shakti," the living manifestation of divine force. Undoubtedly, the universe endows women with innate resilience, as they have demonstrated for decades. They have fought their battles by first recognizing and then publicly embracing their self-worth. Their achievements can be acknowledged as philosophers, global leaders, businesspeople, poets, playwrights, authors, artists, journalists, painters, musicians, and other creative types. Though women have contributed multifariously to society at large, this essay will focus on the contributions made by women to Indian English literature. This study places a significant emphasis on the contributions made by women to Indian English literature throughout the course of its magnificent history, which spans from before the country's independence to the present day. In addition, the paper will analyse a number of different Indian authors in order to get a deeper comprehension of women’s writings and the role they have in the world of literature. This paper will comprehensively study the incredible contribution of writers such as Kamala Das, Shashi Deshpande, Bharti Mukherjee, Kamla Markandaya, Nayantara Sahgal, Arundhati Roy, Shobha De, Anita Desai, Manju Kapur, and Kiran Desai, who have paved the way for future generations of Indian women writers to express themselves. They are the progenitors of resistance, consciousness, and individualism.
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Wildgoose, Jane. "FINIS: Objects of the End of Time, Afterlife Writing and Situation of Graves." European Journal of Life Writing 9 (July 6, 2020): LW&D313—LW&D343. http://dx.doi.org/10.21827/ejlw.9.36912.
Повний текст джерелаАнотація:
Focusing on Hogarth’s last graphic work, The Bathos, this essay examines the ways in which the vanitas themes it represents are bound up with events that occurred towards the end of the artist’s life. Drawing on life writing (including elements of Hogarth’s autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his character, his politics, his ideas about English art and his standing as an artist, during his final years. Focusing on textual and visual images employed by Hogarth’s detractors to belittle him, it explores how these metaphors may be connected with the iconography he employed in The Bathos, and the extent to which the work may be ‘read’ as a representation of the artist himself, and his view of his reputation at the end of his career. Contrasting the pessimistic image Hogarth presents in his final work with the afterlife writing of his achievements by his contemporaries, it concludes with reflection on the role that his grave continues to play in celebrating his life and his status as one of the most talented and innovative artists of the eighteenth century.
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Ziemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia." Porta Aurea, no. 19 (December 22, 2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.
Повний текст джерелаАнотація:
In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era).
An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology.
The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’.
The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi).
Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain).
As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.
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Simmers, George. "Writing Life: Early Twentieth-Century Autobiographies of the Artist-Hero. By Mhairi Pooler." English 65, no. 249 (June 2016): 184–87. http://dx.doi.org/10.1093/english/efw012.
Повний текст джерела
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Damisch, Hubert, and Jean Dubuffet. "Writings and correspondence: 1961-1985." October 154 (October 2015): 8–68. http://dx.doi.org/10.1162/octo_a_00236.
Повний текст джерелаАнотація:
This dossier comprises a selection of the correspondence between Hubert Damisch and Jean Dubuffet as well as six essays written by Damisch on Dubuffet between 1962 and 1985. Both the correspondence and texts are here published in English for the first time. “Jean Dubuffet and the Awakening of Images” (1962), Damisch's second article on Dubuffet, discusses the relationship between material object and idea, or painting and image, in Dubuffet's art since the 1940s. “Work, Art, Artwork” (1962) examines Dubuffet's return to figuration following his abstract works of the late 1950s. “Paris Circus” (1962) is an extended review of the recently completed series Paris Circus, and “Second Method” (1964) investigates Dubuffet's cycle of the Hourloupe in the light of questions of perception present in Maurice Merleau-Ponty's The Eye and The Mind. “DUBUFFET (Jean)” (1969) was written as an entry of the Encyclopedia Universalis. The final essay, “Starting Ground” (1985), was written at the time of the artist's death. It evokes, among other themes, contemporaneity and posterity and Dubuffet's complicated embrace of an artistic career. This essay lays the ground for subsequent texts by Damisch on Dubuffet. The correspondence, which is interspersed amidst the writings, is complete save for a few technical letters concerning the editing of Dubuffet's writings by Damisch in 1967. Damisch himself defines it as “work correspondence.” In these letters, artist and writer debate specific terms, discuss the artist's work and the writer's essays, and provide a glimpse of their complex personal relations.
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Sivri, Medine, and Sibel Kuşca. "“Bin parçaya bölünmüş yüz” dünyasının sınırları genişlemiş bir dil, bellek ve mekân sürgünü Nedim Gürsel’de sürgünlük ve göçebelik halleri." Göç Dergisi 2, no. 1 (May 1, 2015): 9–24. http://dx.doi.org/10.33182/gd.v2i1.534.
Повний текст джерелаАнотація:
Edebiyat ve sanat tarihi boyunca sürgün, bir çok yazar ve şairin makus talihi olmuştur. Yazarlar ve sanatçılar kimi zaman fikirleri, kimi zaman yazdıkları, kimi zaman da toplumsal baskı nedeniyle zorunlu veya gönüllü bir göçün/sürgünün öznesi olabilmektedirler. Bu çalışmada, önce zorunlu sonra gönüllü göçü/sürgünü ve yersiz-yurtsuzluk halini yaşayan çağdaş yazarlarımızdan Nedim Gürsel ve yazını, bu olgunun yazar ve edebiyatına yansımaları sosyolojik ve etno-psikolojik açıdan irdelenmeye çalışılacaktır. Bireyin aidiyet hissiyle bağlandığı mekândan ve kendine ait yaşam biçimlerinden koparılması, onun kültürel köklerinden ve insani bağlarından da koparılmasıdır ve bu durum bir yazar için edebi esin kaynaklarının da hem çeşitlenmesi ve varsıllaşması, hem de sarsılması anlamına gelir. Bu varsıllık ve sarsıntı edebi malzeme olarak kimi zaman olumlu etkiler yaratsa da, yazarın yaşamı ve yazını üzerinde derin izler bırakmaktadır. Nedim Gürsel, bu izleri hem olumlu hem de olumsuz yönleriyle örnekleyen, sürgünlük ve gönüllü göçebelik hallerini zıtlıklarına rağmen aynı bünyede barındıran, gönülden ve özü itibariyle bağlı olduğu ve kendini daha çok ait hissettiği, köklerinin bulunduğu memleketi ile bulunduğu yerleri aynı potada eritmeyi başaran bir yazardır. Bu çalışmada, yazarın anı ve gezi yazılarından oluşan Hatırla Barbara ve öykülerini derlediği Sevgilim İstanbul eserleri ile göçün/sürgünün biyografik ve kurgusal metinlerdeki yansımalarını ortaya koymak hedeflenmektedir. Çalışmada ayrıca, 21. yüzyılın sürgünlük ve göçebelik hallerinin kendine özgü yapısı da değerlendirilecektir. ENGLISH ABSTRACT“Bin parçaya bölünmüş yüz” an exile of language, memory and place with an enlarged world: exile and nomandic aspects in Nedim GürselExile has been the ill fate of so many author and poet throughout the literature and art history. Authors and artists can be subjected to a forced or voluntary migration/exile because of sometimes their thoughts, some time their writings, and sometimes social pressure. In this study, Nedim Gürsel, one of the contemporary authors who lived first the forced migration/exile, then the voluntary one, and experienced the situation of being homelessness, and his literature, the influences of these situations will be tried to analyse in sociological and ethnopsychological aspects. A person is also expelled from her/his cultural roots and humane connection by being expelled from the place being connected with a sense of belonging, and the life styles. But for an author, this situation means diversity, richness and shock on her/his literal inspire. Even if this richness and shock sometimes create positive effects as literal material, it leaves traces on the life and literature of the author. Nedim Gürsel is an author that exemplifies these traces both with positive and negative aspects, contains the exile and voluntary migration within himself despite their adverseness, achieves melting his homeland, to which he is sincerely connected and fells belong, with the placed that he leaves. In this study, it is targeted to reveal the reflections of migration/exile on Hatırla Barbara, the book composes of memoir and travel writings, and Sevgilim İstanbul in which short stories of the author collected. The exile and migration cases of 21th century will be also evaluated in this study.
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Pinto, Paula Tavares, Diva Cardoso de Camargo, Talita Serpa, and Luciano Franco da Silva. "Analysing the behaviour of academic collocations in a corpus of research-papers: a data-driven study / Analisando o comportamento de colocações acadêmicas em um corpus de artigos científicos: um estudo dirigido por dados." REVISTA DE ESTUDOS DA LINGUAGEM 29, no. 2 (March 19, 2021): 1229. http://dx.doi.org/10.17851/2237-2083.29.2.1229-1252.
Повний текст джерелаАнотація:
Abstract: Authors from different countries have published their papers in English, aiming to promote their research results widely and to become internationally known by their peers. It is also true that, although they are aware of the English terminology used in their respective field, some authors still struggle with some features of academic writing such as collocations. Thus, this paper presents a discussion on the underuse and overuse traces of academic collocations by Brazilian authors who had their articles published in English on an open electronic library of scientific journals. In order to analyse the collocations used by these researchers, we compiled a 906,035-word corpus from eight different academic areas. The collocations observed were statistically compared to those from an academic corpus of English writings which contains texts produced by English-speaking authors. Results showed that there are more collocations underused than overused by the authors. The analysis proved that the collocation repertoire of researchers could be broadened by being pointed out during academic writing workshops.Keywords: academic collocations; research paper writing; corpus linguistics.Resumo: Autores de vários países têm publicado seus artigos científicos em inglês com o intuito de promover amplamente os resultados de suas pesquisas dentre a comunidade científica internacional. É verdade que, embora estejam cientes da terminologia utilizada no respectivo campo de pesquisa, alguns autores ainda apresentam dificuldade em lidar com certas características da escrita acadêmica, como o uso das colocações. Este artigo apresenta uma discussão sobre traços de sobreuso e subuso de colocações acadêmicas utilizadas por autores brasileiros que têm seus artigos publicados em inglês numa plataforma eletrônica aberta de artigos científicos. Para analisar as colocações utilizadas por estes pesquisadores, compilamos um corpus de 906.000 palavras a partir de oito áreas científicas. As colocações analisadas foram comparadas estatisticamente com as colocações de um corpus acadêmico de inglês que contém textos escritos por autores anglófonos. Os resultados mostraram que há mais traços de subuso que sobreuso de colocações acadêmicas utilizadas pelos pesquisadores e este repertório poderia ser ampliado se fossem destacadas durante cursos de escrita acadêmica em língua inglesa.Palavras-chave: colocações acadêmicas; escrita de artigos científicos; linguística de corpus.
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Canaday, Elizabeth. "Educated Eyes: Portraits in the English Classroom." Voices from the Middle 4, no. 3 (September 1, 1997): 1–9. http://dx.doi.org/10.58680/vm19973757.
Повний текст джерелаАнотація:
Describes a half–year curriculum called “Portraits,” developed by three middle school teachers in collaboration with the education department of a museum, in which students learn and practice the skills involved in visual observation and apply them to reading and writing: precise observation of detail, accurate inference based on these facts, and analysis of artists’ choices.
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Grove, Laurence, Anne Magnussen, and Ann Miller. "Introduction." European Comic Art 14, no. 1 (March 1, 2021): 1–6. http://dx.doi.org/10.3167/eca.2020.140101.
Повний текст джерелаАнотація:
This edition of European Comic Art begins by adopting a retrospective viewpoint and ends with a look to the future, not entirely rosy but not wholly bleak. Our first article offers a reassessment of the relationship between Hergé’s Tintin and conservative Catholic discourses of the 1930s. We then move on to a personal recollection of a landmark moment in the legitimisation of comics in France: the Cerisy conference of 1987. In our third article, two virtuoso comics autobiographers reflect (in an email discussion that took place in 2006, here translated into English for the first time) on the loss of the searching, edgy tonality of early comics life writing in favour of something more crowd-pleasing. Finally, a young Brighton-based comics artist shares her love of the medium and her experience of solidarity among her fellow artists but has a cooler appraisal of the current political scene and the health of the comics culture in the United Kingdom.
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Grove, Laurence, Anne Magnussen, and Ann Miller. "Introduction." European Comic Art 14, no. 1 (March 1, 2021): 1–6. http://dx.doi.org/10.3167/eca.2021.140101.
Повний текст джерелаАнотація:
This edition of European Comic Art begins by adopting a retrospective viewpoint and ends with a look to the future, not entirely rosy but not wholly bleak. Our first article offers a reassessment of the relationship between Hergé’s Tintin and conservative Catholic discourses of the 1930s. We then move on to a personal recollection of a landmark moment in the legitimisation of comics in France: the Cerisy conference of 1987. In our third article, two virtuoso comics autobiographers reflect (in an email discussion that took place in 2006, here translated into English for the first time) on the loss of the searching, edgy tonality of early comics life writing in favour of something more crowd-pleasing. Finally, a young Brighton-based comics artist shares her love of the medium and her experience of solidarity among her fellow artists but has a cooler appraisal of the current political scene and the health of the comics culture in the United Kingdom.
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Householder, Johanna. "This Page Is a Site: Site, Artist and Audience in Four Recent Performances." Canadian Theatre Review 126 (March 2006): 10–15. http://dx.doi.org/10.3138/ctr.126.001.
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Seen from above the room is a page. Robin Brass is in a room at Mysteria in Regina, Saskatchewan. We stand throughout the gallery, on the page. Brass begins to write on the floor, making ink from a block and a cup of water. She draws, writes with the block on the clean wood floor. Her action is deeper than writing though; she is on her hands and knees, putting her whole body into the script. She inscribes Saulteaux and some Cree syllablcs, with English words (route, scout, diver, root, return), interspersed. As she writes, she speaks, but she is not reading what she is writing.
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Lees, Clare A. "Women Write the Past: Medieval Scholarship, Old English and New Literature." Bulletin of the John Rylands Library 93, no. 2 (September 2017): 3–22. http://dx.doi.org/10.7227/bjrl.93.2.2.
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This article explores the contributions of women scholars, writers and artists to our understanding of the medieval past. Beginning with a contemporary artists book by Liz Mathews that draws on one of Boethius‘s Latin lyrics from the Consolation of Philosophy as translated by Helen Waddell, it traces a network of medieval women scholars of the nineteenth and twentieth centuries associated with Manchester and the John Rylands Library, such as Alice Margaret Cooke and Mary Bateson. It concludes by examining the translation of the Old English poem, The Wife‘s Lament, by contemporary poet, Eavan Boland. The art of Liz Mathews and poetry of Eavan Boland and the scholarship of women like Alice Cooke, Mary Bateson, Helen Waddell and Eileen Power show that women‘s writing of the past – creative, public, scholarly – forms a strand of an archive of women‘s history that is still being put together.
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Patterson, Ian. "Bad Dreams and Secret Artists: Translating Freud into Literature." Psychoanalysis and History 4, no. 2 (July 2002): 127–39. http://dx.doi.org/10.3366/pah.2002.4.2.127.
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This article addresses the increasingly popular approach to Freud and his work which sees him primarily as a literary writer rather than a psychologist, and takes this as the context for an examination of Joyce Crick's recent translation of The Interpretation of Dreams. It claims that translation lies at the heart of psychoanalysis, and that the many interlocking and overlapping implications of the word need to be granted a greater degree of complexity. Those who argue that Freud is really a creative writer are themselves doing a work of translation, and one which fails to pay sufficiently careful attention to the role of translation in writing itself (including the notion of repression itself as a failure to translate). Lesley Chamberlain's The Secret Artist: A Close Reading of Sigmund Freud is taken as an example of the way Freud gets translated into a novelist or an artist, and her claims for his ‘bizarre poems' are criticized. The rest of the article looks closely at Crick's new translation and its claim to be restoring Freud the stylist, an ordinary language Freud, to the English reader. The experience of reading Crick's translation is compared with that of reading Strachey's, rather to the latter's advantage.
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Lindsey, Kiera. "‘Grave-Paved Stars’: Comparing the Death of Two Artists in Nineteenth-Century Rome." European Journal of Life Writing 9 (July 6, 2020): LW&D108—LW&D131. http://dx.doi.org/10.21827/ejlw.9.36902.
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Adelaide Ironside (1831–1867) is best known as the first Australian-born artist to train overseas. While her life offers a portal into Republican Sydney, Pre-Raphaelite London and Risorgimento Rome, the nature of her archive also highlights the limits of historical method and the need to employ what Virginia Woolf called ‘the biographer’s licence’ when researching and writing about subjects with problematic sources. In this article, I employ biographical license to contrast the better-known and better-documented death of the English poet John Keats (1795–1821), with the few records associated with Ironside’s death some forty years later, to speculate about the silences in her sources. There are several factors encouraging this approach. Both artists died in Rome of pulmonary tuberculosis. Both were patients of the famous doctor, Sir James Clark (1788–1870), and both died during winter in the care of the person with whom they are now buried. By situating Ironside within these broader nineteenth-century contexts, my biographical subject evolves from a shadowy historical representative of demographic and an era into a figure who is more flesh and blood than an accocount focused upon her accomplishments and acquaintances might otherwise allow.
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Šavle, Majda. "Joseph Conrad in Slovene translations." Acta Neophilologica 38, no. 1-2 (December 1, 2005): 61–69. http://dx.doi.org/10.4312/an.38.1-2.61-69.
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Joseph Conrad gained public admiration for the romantic glamour and atmosphere of his tales of the sea, of distant coasts and exotic locales, while his fellow artists and literary critics praised his superb use oflanguage, his writing style, and his narrative techniques. The following chronological account oftranslations and critical responses to them and of the discussions about the life and work of Joseph Conrad show, that in Slovenia, too, Conrad is considered to be one of the greatest novelists in the English language.
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Timms, Edward. "Combustion or Incineration? Notes on English Translations of Holocaust-related Writings by W. G. Sebald." Translation and Literature 23, no. 2 (July 2014): 210–21. http://dx.doi.org/10.3366/tal.2014.0151.
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This paper examines certain discrepancies between the German originals and the English translations of three Holocaust-related works by W. G. Sebald: The Emigrants, The Rings of Saturn, and Vertigo. The process of Anglicization is shown to involve tonal transformations. Attention is also drawn to variations in the use of the textually embedded illustrations that form such a distinctive feature of Sebald's narrative strategy, for example the omission from The Emigrants of a chalk drawing by the refugee artist Frank Auerbach that was featured in the German original, Die Ausgewanderten. This raises further questions about an aesthetic of hybridity that not only combines words with images, but transforms real-life originals into quasi-fictional characters.
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Morellet, Francois. "“Viewer to Viewer, or The Art of Unpacking One's Picnic” and Other Essays." October 157 (July 2016): 128–60. http://dx.doi.org/10.1162/octo_a_00262.
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This anthology of writings by artist François Morellet (1926–2016) presents new translations of texts, several never before published in English, that concern his early development, from the 1950s—during which he elaborated the systematic conception of art that would govern his practice throughout his life—to the 1960s, when he was a founding member of the Groupe de Recherche d'Art Visuel. With humor and clarity, Morellet details his plans for a “programmed experimental painting”; a call for active participation by viewers of contemporary art; the influence of Mondrian, van Doesburg, Max Bill, and others on his work and the ways in which he tried to eliminate choice as much as possible from his grid paintings; and, most satirically, the ways to recognized as a “serious” artist.
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Awa, Dr Onyeka. "English Language and The African Literary Experience: An Examination of Selected Works of Akachi Adimora-Ezeigbo." IJOHMN (International Journal online of Humanities) 3, no. 6 (December 23, 2017): 17. http://dx.doi.org/10.24113/ijohmn.v3i6.38.
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The aim of this study is to investigate how the African novelists have domesticated the English language to suit their environments, experience and purpose. Specifically, the literary pieces – The Last of the Strong Ones (Strong Ones), House of Symbols (symbols), Children of the Eagle (Children) and the Trafficked of Akachi Adimora-Ezeigbo were x-rayed. This exploration adopted the Hallidian Systemic Functional Linguistics, which highlights how language is used. The textual method of data analysis, the primary and secondary data collection methods were employed and the results showed that the African literary artists in general and the Igbo Nigerian novelists in particular have taken on a unique style of writing in the African vernacular style. For that reason, the speeches of the characters are laced with dignified local appositives, high profile Igbo songs and tales, studded local proverbs, lexical transfers, ritzy transliterations and so on; and these have given African rhythm to the English language. This notwithstanding, the aura, glamour and credibility of the English language as the medium of communication are retained.
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Prykowska-Michalak, Karolina, and Izabela Grabarczyk. "“English with a Polish Accent and a Slight Touch of Irish”: Multilingualism in Polish Migrant Theatre." Text Matters: A Journal of Literature, Theory and Culture, no. 13 (November 27, 2023): 298–316. http://dx.doi.org/10.18778/2083-2931.13.16.
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Issues of migration writing (see Kosmalska) and migrant theatre have recently gained prominence, leading to an increase in research focused on analyzing the theatrical works of artists with a migrant background. This phenomenon is part of a broader trend in intercultural and, often, postcolonial studies. Contemporary Polish migrant theatre is a subject that has not been thoroughly explored yet. Among many methods applied in the study of migrant theatre, intercultural studies or the so-called new interculturalism take the lead. These concepts draw on bilingualism or multilingualism practices, which are slowly taking a more significant role in migrant theatre studies. This article analyzes two theatre plays staged by Polish migrants in Ireland and in the United Kingdom in the context of linguistic practices that exemplify and help define the concept of transnational drama.
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Shivam Singh and Prof. Gunjan Sushil. "The Theme of Gender Violence in Manjula Padmanabhan’s Play Lights Out." Creative Launcher 5, no. 6 (February 28, 2021): 34–38. http://dx.doi.org/10.53032/tcl.2021.5.6.06.
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Many Indian women writers have contributed to the development of Indian writing in English and taken it to the respectable position. Manjula Padmanabhan is one of them. She was born in Delhi in 1953. She has spent early years of her life in Europe and Southeast Asia. Later, she returned to India. She is a playwright, journalist, comic strip artist and children's book author. In Indian writing in English, Manjula Padmanabhan emerges as a sensitive writer who aims at the presenting the realistic problems instead of portraying the romantic, fanciful notions. She is one of the Indian woman playwright who attempted to bring a positive behavioural change in women towards themselves as well as society toward women. Her plays are issues oriented and deal with social reality. Thus, her style and content are realistic in a believable manner. Her plays are majorly women centric and thus present their perspective and narrative. Thus, this paper is a study of Manjula Padmanabhan’s Lights Out (2000) in the light of gender insensitivity and violence.
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Anatol, Giselle. "Visual Art and Fashion as Part of an English Department’s Afrofuturism Syllabus." Radical Teacher 122 (April 28, 2022): 21–31. http://dx.doi.org/10.5195/rt.2022.931.
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Images in film, paintings, sketches, and sculpture sometimes drive ideas home in ways that words on the page do not, prompting more visceral reactions and the desire to enact change instead of thinking about subjects on a more abstract level. This essay explores how the visual arts were used in a Fall 2020 course on Afrofuturist literature to supplement conventional readings, class discussions, and writing assignments, helping students to grasp many of the central principles of genre, such as re-visioning reality and undermining the “logics” established by colonial regimes, neo-colonial powers, and systemic racism; the ways that the past permeates the present; the possibilities of Africanist existence in a rich and productive future; how intersections of race, gender, and class influence artists' reconfigurations of artistic forms long dominated by White men. Several creative research projects, produced by students at the end of the semester, are described at length and analyzed to illustrate how they proccessed course concepts, and how Afrofuturist texts resonated in powerful ways during the COVID-19 pandemic.
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Kuleshir, Mariia. "VERSATILITY OF J. WYNDHAM’S OEUVRE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 16(84) (December 22, 2022): 70–75. http://dx.doi.org/10.25264/2519-2558-2022-16(84)-70-75.
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The article deals with polyvalent nature of artistic narrative of a famous English science fiction writer John Wyndham. This research pursues the goal of providing a systematic and analytical overview of the creative heritage of the author, which involves an emphasis on the periodization of his writing activity. The last decades are marked by isolated, but important scientific and popular scientific works, which were written both by compatriots of the writer and by foreign researchers and highlight various literary aspects of Windham's literary activity. At the same time, the analysis of Wyndham's work is practically not implemented in modern Ukrainian English studies. Moreover, one of the artist's main novels appeared in a Ukrainian translation only a few years ago, without a foreword or an afterword. In this study, an attempt was made to create a holistic view of the evolution of Wyndham's work, which reached its peak in the 1950s − a period that can be called "golden" in connection with the extraordinary productivity and, which does not happen so often, the synchronous popularity of Wells’s disciple. J. Wyndham's novels continue to attract attention of both readers and critics, both filmmakers and viewers, both voiceover artists and audiobook listeners, both translators and publishers. Such long-lasting interest is explained by the multimodality of the narrative, the originality of the plot, the versatility of the thematic complexes, as well as the writer's empathy for people and being burdened by the permanent dynamics of transformative social processes. The problem-thematic clusters represented in Windham's work are consistent with the modern age, which is filled with controversial phenomena, trends and alarming eschatological predictions. The apocalyptic spirit is as relevant to the modern world as it is to other eras whose apparent integration suffers from the threat of destabilization. Despite its immanent macabreness, Wyndham's apocalyptic-dystopian discourse is imbued with faith, hope and love – eternal values that fill existence with meaning and inspire achievement.
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Ben Ner, Ayellet. "Image of the Absent." Persona Studies 1, no. 2 (October 30, 2015): 99–135. http://dx.doi.org/10.21153/ps2015vol1no2art502.
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Image on the Absent, which might be described as a fictional life writing, seeks after the right assemblage of visual qualities that can depict a persona. This project exists in its Hebrew version in the Tel Aviv Museum of Art library and was exhibited in Sifria Balayla (Night Library) (Jerusalem 2014) and in the Artport artists book fair (Tel Aviv 2014). The project is inspired by notorious Adolf Eichmann, here a protagonist exploring his own image through self-revelatory confessions. These confessions are received and reproduced by a female sex worker. The English translation of the project was made by Ella Levenbach. Thanks are due to Yad Vashem, World Center for Holocaust Research, for permission to reproduce many of the images used in this piece.
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Ch'ien, Evelyn Nien-Ming. "English is getting weirder, and so R wee." English Today 24, no. 2 (June 2008): 50–55. http://dx.doi.org/10.1017/s0266078408000205.
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ABSTRACTAn exploration of how technology is making English – and the human race – evolve. In The Dead Emcee Scrolls, poet and rap artist Saul Williams describes how his writing was transformed by a dance club experience in which the club's beats reset his biorhythms. He writes, Hail Mary. Mother of God. / Got the whole host of angels in my iPod (Williams, 2006:16). Then, later, Neck back jump kiss BREAK. / Uprock freeze pop lock BREAK. / Don't stop don't stop snap BREAK (30). These lines illustrate a growing use of urban hip-hop vernacular that has been distributed with alarming efficiency by the global music trend, through downloadable music and ipods. Music and its beats have created a rhythm to which this iGeneration dialogues, both internally and externally. Technology has given way to a continuum for emotional highs that can be sustained at any place and time. The technological revolution influences the way we socialize, collaborate and exchange acoustic information. Our changing and globalized subjectivities, as well as increasingly powerful acoustic technology, have exerted changes on the English language, making visible a significant revolution in the shaping of language within an increasingly mobile and technological world.
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Nikolenko, Kateryna. "THE IMAGES OF FEMALE WRITERS IN THE “EMILY” AND “ANNE” SERIES BY L.M. MONTGOMERY." Scientific Journal of Polonia University 60, no. 5 (December 14, 2023): 97–106. http://dx.doi.org/10.23856/6011.
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While the Künstlerroman may well be considered one of the genres that have blossomed most prominently in the 20th century English-Canadian literature, research investigating its poetics has remained on the fringes of literary scholarship. This paper examines L.M. Montgomery’s sophisticated use of the Künstlerinroman through her portraits of female writers in the Emily and Anne series. My goal is to explore how Montgomery’s heroines choose to narrate themselves and the world around them, how they transcend difficulties and assert their own unique perspectives. Therefore, this paper examines not only the socio-cultural environment which served as background for the creation of literature, but also the writer’s reflections regarding the process of bringing said literature into the world. Drawing on the scholarship of J. Buckley, R. Seret, E. Varsamopoulou, F. Hammill, K. Macfarlane, G.A. Guth and others, this paper aims to analyze L.M. Montgomery’s “sophisticated handling of genre” (E.R. Epperly) in greater depth and place her portraits of the female artists within a broader cultural and literary context. The question of female subjectivity, which concerns women’s perceptions of their own writing (and their fate as artists), is central to my research.
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Gurra, Hyreme, Fatmire Isaku, and Bjonda Xhumkar. "THE ERA OF MODERNISM AND JAMES JOYCE’S “A PORTRAIT OF THE ARTIST AS A YOUNG MAN”." ANGLISTICUM. Journal of the Association-Institute for English Language and American Studies 12, no. 8 (August 4, 2023): 42. http://dx.doi.org/10.58885/ijllis.v12i8.42hg.
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<p><span>This research paper is going to elaborate the elements of Modernism as one of the most distinguished and important period of Literature. The key elements of this Era will be highlighted threw James Joyce’s Portrait. Modernism surely made a new approach to English Literature with a completely new writing style, motifs, aspects, symbols, and access to scenes,using new elements that will encourage and influence future writers. In “A Portrait of the Artist as a Young Man’’, is portrayed the innovative use of stream of consciousness, a technique throughout which is described the thought and the stream of consciousness since it vividly contains the elements of Modernism.The new style of writing that characterizes Modernist writers is highly impressing and contains innovative elements that were not used by authors from other periods in Literature. This style transcribes the inner world of the actors, rather than describing sexiness or the external outlook of the character. The novel “A Portrait of the Artist as a Young Man,” vividly contains a great amount of these elements, away from the traditional styles and methods.In this study are highlighted and analyzed the main elements of Modernism, used in almost every part of the novel.The research methods being used throughout this paper are: comparative method, narrative method, qualitative and quantitative method.</span></p><p><span><strong>Keywords:</strong> Obsessed, Modernism, tradition, stream of consciousness, individual, techniques.</span></p>
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Petchauer, Emery. "“Oh boy, I ain’t playin’ no games!”: making sense with youth in the aural imaginary." English Teaching: Practice & Critique 19, no. 3 (May 15, 2020): 365–79. http://dx.doi.org/10.1108/etpc-08-2019-0103.
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Purpose This paper aims to explore how sounds and attunements to particular organizations of sound collide across an English language community learning space. The activities in the paper come from a six-week summer initiative that connected middle school youth with community artists for writing songs and rap lyrics, making beats and hip-hop DJing. Design/methodology/approach This paper draws from the interdisciplinary field of sound studies and, specifically, the concept of aural imaginary to explore the collisions alive and in-motion across the learning space. The paper uses qualitative and ethnographic approaches to explore the research questions. Findings The findings focus on how youth hear certain sounds and organizations of sound in music as “old” and “new,” and how these shifting listening entangle talk, claims and interactions in the learning space. The findings also trace the ways that youth use sound as an active, aural resource to make competing distinctions between rapping, singing and talking. Originality/value This paper reasserts the role of sound in multiliteracies, hip-hop and English education work, keying into the ways it collides with other aspect of the learning space. The paper raises questions about what educators might attune themselves to by considering English education as already taking place in a youth aural imaginary.
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Editorial Collective, UnderCurrents. "Contributors." UnderCurrents: Journal of Critical Environmental Studies 18 (April 27, 2014): 60. http://dx.doi.org/10.25071/2292-4736/38554.
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Omer Aijazi is a PhD candidate in the Department of Educational Studies, University of British Columbia. His research examines place based, community led micro processes of social repair after natural disasters. His research destabilizes dominant narratives of humanitarian response and disaster recovery and offers an alternate dialogue based on structural change.Jessica Marion Barr is a Toronto artist, educator, and PhD candidate in Cultural Studies at Queen’s University. Her interdisciplinary practice includes installation, found-object assemblage, drawing, painting, collage, and poetry, focusing on forging links between visual art, elegy, ecology, ethics, and sustainability. "In October 2013, Jessica curated and exhibited work in Indicator, an independent project for Toronto's Nuit Blanche.Gary Barwin is a poet, fiction writer, composer, visual artist, and performer. His music and writing have been published, performed, and broadcast in Canada, the US, and elsewhere. He received a PhD in Music Composition from SUNY at Buffalo and holds three degrees from York University: a B.F.A. in music, a B.A. in English, and a B.Ed.O.J. Cade is a PhD candidate in science communication at the University of Otago, New Zealand. In her spare time she writes speculative fiction, and her short stories and poems can be found in places like Strange Horizons, Cosmos Magazine, and Abyss and Apex. Her first book, Trading Rosemary, was published in January of 2014 by Masque Books.Kayla Flinn is a recent graduate from the Masters in Environmental Studies program, with a Diploma in Environmental and Sustainable Education from York University. Originally from Nova Scotia, Kayla is both an artist and athlete, spending majority of her time either surfing or trying to reconnect people to nature/animals through art she produces.Frank Frances is a playwright, poet, music programmer, artistic director, community arts and social justice activist, former jazz club owner, and believer of dreams of a greater humanity. Frank majored in English, creative writing, post colonial literature and theory, drama and theatre, and is a graduate of York University.Sarah Nolan is a PhD candidate at the University of Nevada, Reno, where she studies twentieth and twenty-first century American poetry. Her dissertation considers developing conceptions of ecopoetics and how those ideas contribute to poetry that is not often recognized as environmental.Darren Patrick is an ecologically minded queer who lives in a city. He is also a PhD candidate in the Faculty of Environmental Studies at York University in Toronto, Ontario.Portia Priegert is a writer and visual artist based in Kelowna, B.C. She completed her MFA in Creative Writing at UBC Okanagan in 2012, with funding from the Social Sciences and Humanities Research Council of Canada.Elana Santana is a recent graduate of the Masters in Environment Studies program at York University. Her research focuses on the intersections of feminist, queer, posthumanist studies and the environment. Her academic work informs her creative pursuits a great deal, particularly in her attempts to photograph the non-human world in all its agential glory. Conrad Scott is a PhD candidate in the University of Alberta’s Department of English and Film Studies. His project examines the interconnection between place, culture, and literature in a study of dystopia in contemporary North American eco-apocalyptic fiction.Joel Weishaus has published books, book reviews, essays, poems, art and literary critiques. He is presently Artist-in-Residence at Pacifica Graduate Institute, Carpinteria, CA. Much of his work is archived on the Internet: http://www.cddc.vt.edu/host/weishaus/index.htmMichael Young is presently the University and Schools advisor for Operation Wallacea Canada, a branch of a UK based biodiversity research organization. He is a recent graduate of the Masters in Environmental Studies program at York University (MES), where his culminating portfolio examined apocalyptic narratives and popular environmental discourse. He is presently in the process of developing an original television pilot, which he began writing as a part of his master’s portfolio.
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Slavkova, Iveta. "Camille Bryen Avant-Gardist/Abhumanist: A Reappraisal of an Artist Who Called Himself the “Best-Known of the Unknown”." Arts 11, no. 2 (March 8, 2022): 43. http://dx.doi.org/10.3390/arts11020043.
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French artist and poet Camille Bryen (1907–1977) is usually, and always very briefly, cited as a member of the post-Second World War (1939–1945) lyrical abstraction trend in Paris, often designated as Ecole de Paris or Nouvelle Ecole de Paris, Tachisme, or Informel. Bryen painted hybrids of plants, animals, rocks, and humans, mixing the organic with the inorganic, evoking cellular agglomerations, geological structures, or prehistorical drawings. He emphasized the materiality and the process through thick impasto, visible brushstrokes, and automatic drawing. Along with other abstract painters in post-war Paris, Bryen’s work is usually associated with vague humanist interpretations and oversimplified existentialism. If the above statement is true for a number of his peers, it does not correspond to the way he envisaged his art, and art in general. His views are reflected in his intense theoretical reflection revolving around the term of “Abhumanism”, too often completely ignored in the critical literature. Coined by his close friend, the playwright and writer Jacques Audiberti, Abhumanism claimed the inconsistency of a fallacious and pretentious humanism faced with the rawness and cruelty of recent history, and called for a revision of the humanist subject, including anthropocentrism. Both men considered art, namely painting, as a salvatory vitalist “abhumanist” act. In this paper, which is the first consistent publication on Bryen in English, I will argue that Abhumanism is essential for the understanding of the artist’s work because, separating him from the School of Paris, it is, first, harmonious with his artistic production—paintings and writings; second, it clarifies Bryen’s place in the history of the avant-garde, in the wake of Dada and Surrealism. This essay will contribute to the re-evaluation not only of Bryen’s still underestimated œuvre, but more largely to the reappraisal of the artistic life in Paris after the Second World War.
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Rafael, Vicente L. "Telling Times." positions: asia critique 29, no. 1 (February 1, 2021): 121–39. http://dx.doi.org/10.1215/10679847-8722810.
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Nick Joaquin (1917–2004) is often regarded as the greatest Filipino writer in English, yet he remains largely unknown outside his country. He published widely in all genres and was awarded the National Artist Award, yet he dropped out of high school and spent much of his youth holed up in libraries and walking Manila’s streets. He wrote some of his most powerful stories between the end of US colonial rule and the beginning of the postcolonial era, at a time when the very craft of storytelling was itself endangered. And he did so in another language, American English, which required setting aside his mother tongue, Tagalog, and an inherited tongue, Spanish. This article explores some of these contradictions, looking at the relationship between language and literature exemplified in Joaquin’s writings and situating him as a storyteller in the wake of Manila’s utter destruction by colonial wars and the uneven recovery from postcolonial strife. This article also asks how Joaquin sought to rescue not just the memory of the city but also the very faculty of remembering itself as well as the remembering self.
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Barreto Jr., Raimundo César. "Rubem Alves: o desenvolvimento de seu pensamento e a recepção do mesmo nos Estados Unidos." REFLEXUS - Revista Semestral de Teologia e Ciências das Religiões 8, no. 12 (May 13, 2015): 125. http://dx.doi.org/10.20890/reflexus.v8i12.235.
Повний текст джерелаАнотація:
Resumo: Este artigo apresenta o desenvolvimento do pensamento de Rubem Alves lado a lado com a sua recepção na academia norte-americana. Limita-se às suas contribuições teológicas, publicadas em inglês, principalmente por meio de resenhas, artigos e citações dos seus escritos, discutindo também a ausência de obras mais significativas sobre seu trabalho. A recepção dos escritos de Rubem Alves na América do Norte recebeu um tratamento ambíguo, variando desde um acolhimento entusiástico à critica ao rigor acadêmico. Mais recentemente, no domínio da teopoética, há um renovado interesse nas suas contribuições. Dessa forma, o artigo apresenta aperiodização do pensamento de Rubem Alves, assinala a sua relação com a igreja, a academia e os EUA ressaltando sua condição de exílio, e destaca exemplos de recepção dos seus escritos na América do Norte. Palavras-chave: Rubem Alves. Teologia. Teopoética. Recepção. Abstract: This paper presents the development of the thought of Rubem Alves vis-a-vis its reception in the North American Academy. It is limited to his theological contributions published in English, and the responses found in book reviews, articles, and references to his writings. It also discusses the absence of more significant works in English about Rubem Alves’ work. The reception of the writings of Rubem Alves in North America received an ambiguous treatment, both an enthusiastic reception and criticism of its academic rigor. More recently, there is a renewed interest in Alves’ contributions in the field of theo-poetics. In short, the paper presents the periodization of the thought of Rubem Alves, points out its relationship to the church, academia and the USA, highlighting his condition of exile, and examines examples of the reception of his writings in North America. Keywords: Rubem Alves. Theology. Theopoetics. Reception.
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Nwankwo, Ifeoma, and Monika Ardelt. "INTEREST GROUP SESSION—REMINISCENCE, LIFE STORY AND NARRATIVE: RESEARCH AND PRACTICE: WISDOM OF THE ELDERS: ART, MEDICINE, NARRATIVES, AND POETRY." Innovation in Aging 3, Supplement_1 (November 2019): S568—S569. http://dx.doi.org/10.1093/geroni/igz038.2102.
Повний текст джерелаАнотація:
Abstract The Wisdom of the Elders (WOE) is a series of autobiography production workshops conducted since 2012 through a collaboration among community, university, and municipal partners. Beginning in Murfreesboro, TN it has since been replicated in New Orleans, LA. The Wisdom of the Elders project has many elements, including life history interviews, creative writing workshops, and creative expressions that allowed elders to share their wisdom with younger generations. Our focus was to understand how personal characteristics and historical/environmental events interact to influence healthy aging. Later work extended to interviewing older hospitalized patients in order to gain insight into intergenerational themes. The interdisciplinary team has also used poetry and reflection to train healthcare professionals and caregivers to use active listening strategies to better understand how patients cope with life-changing illnesses, and how they incorporate the challenges of those illnesses into rich, fulfilling lives. WOE has been supported by the Mellon Foundation, the Meharry-Vanderbilt Community Engaged Research Core, and the Department of English, the College of Arts and Science Dean’s Office, and the Chancellor’s Higher Education Fellowship at Vanderbilt University. WOE has led to the formation of an interdisciplinary research and publication collaborative featuring distinguished clinicians, artists, and scholars from Creative Writing, Education, Geriatrics, Interprofessional Learning, Psychology, and Public Humanities.
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Zhou, Huiyin. "As We Sit in a Circle on the Grass, and: 环 Circle, and: Untamed Tongue 母语". Massachusetts Review 64, № 4 (грудень 2023): 50–54. http://dx.doi.org/10.1353/mar.2023.a914899.
Повний текст джерелаАнотація:
Abstract: "Circle" and "untamed tongue" are from 离离草 Chinese Artists and Organizers (CAO) Collective's poetry writing workshops in 2022. The poems were originally written in Chinese using the Exquisite Corpse method, where workshop participants continued after each other's lines under a tight time limit to co-author collective languages and narratives. They were translated into English by CAO Collective members fran yu 嚼嚼 and huiyin zhou 徽音 in collaboration. These poems and their translations engage with the affective experiences of Chinese queer feminists in the diaspora. These collaborative processes, whether as a group or as a duet, rebuild our own lifeworlds that traverse national, geographic, and generational borders. As we call and respond to one another, and murmur tTHERE IS A HOUSEo queer/feminist ancestors and family members who seem out of reach, we reimagine what it means to be with each other, to stand with arrested feminist activists and victims of lockdowns from afar.
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Sarmad, Dr Deeba. "Existential despair in Kamala Markandaya’s Nectar in a Sieve: A study." International Journal of English Literature and Social Sciences 7, no. 4 (2022): 337–43. http://dx.doi.org/10.22161/ijels.74.51.
Повний текст джерелаАнотація:
Among the diasporic novelists of India, Kamala Markandaya (1924-2004) occupies a prominent place as being one of the founding figures of the tradition. When she started writing novels in the 1950s, the theme of hunger and degradation, East- West encounter, colonial politics and its effects on human relationships, rootlessness and alienation had already been dealt with by some Indian English Novelists, but her uniqueness lies in the fact that she provides an original approach, intimacy and poignancy to these issues. In all her novels, spanning three decades, the readers are impressed by her realistic presentation of life. It would not be wrong to say that as a sensitive person and an astute artist she was ahead of her times and wrote about issues, which the next generation of novelists took up later.
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Rice, Linda. "Gabriela Mistral: Nourished by and Constructed from the Sap and Blood of Life." International Journal of Literature Studies 4, no. 2 (May 17, 2024): 06–20. http://dx.doi.org/10.32996/ijts.2024.4.2.2.
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Gabriela Mistral (1889-1957) was the first Latin American to win the Nobel Prize for Literature and was a mentor to Pablo Neruda who also went on to become a Nobel laureate, yet Mistral’s work is rarely studied in English translation today. This article aims to bring attention to the author’s life and legacy, particularly through her diplomatic work and writing, with an emphasis on Mistral’s poetry in the hope of returning Gabriela Mistral to a place of distinction and standing that encourages future reading and study. Illustrative of the author’s voice, excerpts of Mistral’s work are woven throughout. The article traces key moments in Mistral’s life from childhood in the Elqui Valley of Chile through her years as a rural schoolteacher and onward to her position as a leader in education reform in Mexico. Through both her writing and diplomatic work, Mistral gained worldwide prominence. Her work through the League of Nations demonstrated an ongoing concern for human rights and especially for the rights of children and women in poverty and in the workplace. She was instrumental in the founding of the United Nations Children’s Emergency Fund (UNICEF) and an advocate for writers and artists and their crucial role in illuminating important societal issues. The article highlights Mistral’s 1937 talk before the Committee on Letters and Arts in Paris and addresses her connection with Pablo Neruda and the story of Juan Miguel, whom she adopted and called Yin-Yin; Yin-Yin died tragically at age seventeen. Finally, the article provides an overview of the life influences, themes, and timing of each of Mistral’s four major collections of poetry in their English translation by Doris Dana (1971): Desolation (1922), Tenderness (1924), Felling (1938) and Wine Press (1954).
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Carlson, Susan. "Leaking Bodies and Fractured Texts: Representing the Female Body at the Omaha Magic Theatre." New Theatre Quarterly 12, no. 45 (February 1996): 21–29. http://dx.doi.org/10.1017/s0266464x00009593.
Повний текст джерелаАнотація:
The contemporary staging of Women's bodies raises both practical and theoretical issues, and in both text-based theatre and performance art women theatre artists are currently engaging these challenges in inventive ways. Drawing upon the inland expanses and ontological freedoms of the American Midwest, the women at the Omaha Magic Theatre have recently premiered two collaboratively written plays, Body Leaks and Sound Fields, which use image, action, technology, and text to engage issues of gender, identity, sexuality, and the material body. In these issues, the spectator is prohibited from making direct relations between body and self, and must instead come to terms with a web of relationships which include the self, the physical body, the community, and the environment. Susan Carlson, a professor of English at lowa State University, has written two books on theatrical comedy, most recently Women and Comedy: Rewriting the British Theatrical Tradition (1991). She is currently working on the contemporary performance of Aphra Behn's plays, and is writing a book on the connections between productions of Shakespeare at the turn of the twentieth century and early suffrage theatre.
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Le Baillif, Anne-Marie. "Paris, « un lieu centre de tous les centres ». Est-ce toujours d’actualité ?" Interlitteraria 25, no. 2 (December 31, 2020): 435–42. http://dx.doi.org/10.12697/il.2020.25.2.14.
Повний текст джерелаАнотація:
Paris, “The Centre of All Centres”. Is It Still the Case? In La République Mondiale des Lettres published in 1999 and 2008, Ms. Casanova wrote: “Paris is the Greenwich meridian for literature” for the 19th and 20th centuries. Writers and artists have come to the city in the past because it was extremely attractive for creative and economic reasons. But at the beginning of the 21st century, with the rise of the New Media for writing, publishing and diffusing, is it correct to say that Paris is still supreme? Is location more important than the time devoted to writing and reading?
The claims on which Ms. Casanova builds her assertions are not supported by the facts of recent history and geography. She refers to “La belle santé économique et la liberté” in Paris but she forgot to mention why artists came from central Europe. It was just because the life was cheaper in Paris than in Berlin, as Walter Benjamin observed in 1926. She notes that Paris was the world centre for high fashion and that writers came together there to be inspired by the place and each other. But these things are no longer true: Paris is one of the most unaffordable cities in the world. Fashion in clothes is determined in many centres, with fashion weeks held in New York, Milan and China; aesthetics no longer depend on a single country. Literary creativity has spread across many continents and the internet and social media provide access to millions of people around the globe. Globalisation has unified the world, note Jean-Philippe Toussaint and Sylvain Tesson, and brought the standardization of cultures.
There is also the matter of the dominant language today. The French language has not changed since Ms. Casanova was doing her research, but French writers now dream of being translated into English to reach the largest audience around the world. Publishers also favour English to make the most profit because literature and art are now worldwide commodities. Writers and researchers use the Internet, which connects them with documents, libraries and people all over the world. Newspapers such as Le Monde and Le Figaro in France provide literary reviews from around the world; for example, Histoire de la Traduction Littéraire en Europe Médiane, compiled by Antoine Chalvin, Marie Vrinat-Nikolov, Jean-Léon Muller and Katre Talviste, was written up in Cahiers Littéraires du Monde. What about the readership? If publishing and merchandizing are accelerating and globalizing because of how the Internet changes time and distance, the writer still has to follow the rhythm of the subject.
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Le Baillif, Anne-Marie. "Paris, « un lieu centre de tous les centres ». Est-ce toujours d’actualité ?" Interlitteraria 25, no. 2 (December 31, 2020): 435–42. http://dx.doi.org/10.12697/il.2020.25.2.14.
Повний текст джерелаАнотація:
Paris, “The Centre of All Centres”. Is It Still the Case? In La République Mondiale des Lettres published in 1999 and 2008, Ms. Casanova wrote: “Paris is the Greenwich meridian for literature” for the 19th and 20th centuries. Writers and artists have come to the city in the past because it was extremely attractive for creative and economic reasons. But at the beginning of the 21st century, with the rise of the New Media for writing, publishing and diffusing, is it correct to say that Paris is still supreme? Is location more important than the time devoted to writing and reading?
The claims on which Ms. Casanova builds her assertions are not supported by the facts of recent history and geography. She refers to “La belle santé économique et la liberté” in Paris but she forgot to mention why artists came from central Europe. It was just because the life was cheaper in Paris than in Berlin, as Walter Benjamin observed in 1926. She notes that Paris was the world centre for high fashion and that writers came together there to be inspired by the place and each other. But these things are no longer true: Paris is one of the most unaffordable cities in the world. Fashion in clothes is determined in many centres, with fashion weeks held in New York, Milan and China; aesthetics no longer depend on a single country. Literary creativity has spread across many continents and the internet and social media provide access to millions of people around the globe. Globalisation has unified the world, note Jean-Philippe Toussaint and Sylvain Tesson, and brought the standardization of cultures.
There is also the matter of the dominant language today. The French language has not changed since Ms. Casanova was doing her research, but French writers now dream of being translated into English to reach the largest audience around the world. Publishers also favour English to make the most profit because literature and art are now worldwide commodities. Writers and researchers use the Internet, which connects them with documents, libraries and people all over the world. Newspapers such as Le Monde and Le Figaro in France provide literary reviews from around the world; for example, Histoire de la Traduction Littéraire en Europe Médiane, compiled by Antoine Chalvin, Marie Vrinat-Nikolov, Jean-Léon Muller and Katre Talviste, was written up in Cahiers Littéraires du Monde. What about the readership? If publishing and merchandizing are accelerating and globalizing because of how the Internet changes time and distance, the writer still has to follow the rhythm of the subject.
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Roded, Ruth. "Recreating Fatima, Aisha and Marginalized Women in the Early Years of Islam: Assia Djebar's Far from Medina (1991)." Hawwa 6, no. 3 (2008): 225–53. http://dx.doi.org/10.1163/156920808x381667.
Повний текст джерелаАнотація:
AbstractWhen Francophone creative artist Assia Djebar decided to write a semi-fictional work on the early years of Islam, she brought to this endeavor her life experience in the context of Algerian history and French colonial influence. Her writing reveals changing attitudes towards Algerian women and Islam, in response to ongoing events.Far from Medina was influenced by the chain of modern biographies of the Prophet Muhammad produced in English, French and Arabic. Early Islamic feminist endeavors also informed her work. Most fascinating is the dialogue that Djebar seems to have carried out with classical Islamic texts, revealed in the format and style of the book.Djebar proposes that the death of Muhammad, and to a greater extent the death of his daughter Fatima six months later, were turning points in women's roles in Islamic society—taking the Muslims "Far From Medina," where women were strong and stood up for their rights.
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Rybina, Polina. "Jane Austen and the Uncanny: The Colonial Past in Patricia Rozema’s Adaptation, Mansfield Park." Acta Universitatis Sapientiae, Film and Media Studies 24, no. 1 (November 1, 2023): 156–69. http://dx.doi.org/10.2478/ausfm-2023-0018.
Повний текст джерелаАнотація:
Abstract Neither Jane Austen’s writing, nor film adaptations of her novels made in the heritage film tradition seem particularly uncanny. Linked in the viewers’ minds with the representation of the English countryside stability, the films promote traditional values and take the spectators away from the problems and anxieties of the contemporary status quo. However, Patricia Rozema’s Mansfield Park (1999) uses Austen’s plot to question the colonial past by creating uncanny effects. Understood in this paper as an eerie resurfacing of the hidden (following Friedrich Wilhelm Joseph Schelling, Sigmund Freud, John Hodgkins, Barbara Creed), the uncanny becomes a tool for inquiring into how contemporary filmmakers and their audiences revisit old stories. Rozema creates two subplots for the main narrative: a story about an artist’s growth (Fanny Price becomes a writer) and a colonial narrative, which foregrounds the Bertrams’ dependence on their property in Antigua and their use of slave labour. Both plot lines enrich the film with uncanny effects linked to the inherent intermediality of film adaptations. Grotesquely frightening verbal images from Fanny’s writing (extracts from Austen’s Juvenilia) and the uncanny visuality of Tom Bertram’s drawings frame the viewer’s revisitation of Mansfield Park while reminding him/her of a subversive potential – of the uncanny and film adaptations.
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George, C. H. "Parnassus Restored, Saints Confounded: The Secular Challenge to the Age of the Godly, 1560–1660." Albion 23, no. 3 (1991): 409–37. http://dx.doi.org/10.2307/4051110.
Повний текст джерелаАнотація:
The conception of English culture in the century that was brought to a climax in Cromwellian triumph and tragedy has suffered from a flatness of historical perception, one major cause of which has been insufficient recognition of the thought and esthetic creativity of nominal Christian and emphatically non-Puritan intellectuals and artists. We have concentrated too much on defining the novelties, indeed often inappreciable differences, that characterized pre-revolutionary and revolutionary Christian factionalism in England: Anglicanism, Puritanism, Sectarianism, Laudianism, and now Arminianism. I want instead to make a case for the neglected power, pervasiveness, and perdurability of varieties of secularism in the age of the Godly.Although a growing number of scholars are aware of the importance of literature to the dynamics of this astonishing epoch, the redoubtable spirit of William Haller prevails still in historical efforts to reconstitute the cultural context of that literature. The pagan bedrock laid down by a century of humanist imports is obscured by the flood of ephemeral sermons and miscellaneous religious discourse. Recent literary scholarship, on the other hand, having shaken the incubus of F. R. Leavis and not yet succumbed to post-structuralism, has given us models with which to illuminate prerevolutionary English culture: the monographs of Stephen Greenblatt, Jonathan Dollimore, and Stephen Orgel investigate the penetration of secular humanism into literature, historical writing,and popular and court theatre. They could lead us out of the fog created by the supersaturated climate of Protestant culture.
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Suwalska-Kołecka, Anna. "Stefan Themerson: on labels, bilingualism and disinfection of words." Tekstualia 3, no. 46 (July 4, 2016): 55–62. http://dx.doi.org/10.5604/01.3001.0013.4202.
Повний текст джерелаАнотація:
This article is devoted to Stefan Themerson, Polish-born avant-garde artist, fi lmmaker, poet, novelist, and philosopher, whose artistic ventures escape easy categorizations. He wrote in three languages: Polish, French, and English, however, the choice of language is not purely the result of the change of the country where he lived. Writing in a foreign language may be seen as the writer’s conscious artistic decision and yet another device he implemented to avoid perceiving the world in terms of labels. Fascinated by language, Themerson is fully aware that transgressing its boundaries is tantamount to transgressing the fossilised vision of the reality for the multiplicity of languages means multiplicity of points of view. Therefore Themerson uses different languages, mixes playfully styles and conventions because he wants his conclusions to be always open to revision. His bilingualism is an attempt to distance himself from the language itself and overcome the limitations of style.
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Luca, Ioana. "Transnationalizing Memories of Post/Socialism: Diasporic Graphic Lives." Comparative Literature Studies 59, no. 3 (August 1, 2022): 568–89. http://dx.doi.org/10.5325/complitstudies.59.3.0568.
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ABSTRACT The article focuses on The Wall: Growing Up Behind the Iron Curtain (Peter Sís, 2007) and Marzi (Sylvain Savoia and Marzena Sowa, 2004–2017), two widely translated autobiographical comics written in English and French, respectively, as an entry point into the afterlives of European state socialisms in global contexts. The author examines how Sís, a Czech-born illustrator and children book author, who defected to the United States, and Sowa, a Polish-born writer who left for France, remember their lives under state socialism, and how they make them legible to present-day transgenerational and transnational audiences. The author explores how comics, specifically the seriality, multimodality, and the meanings created at the intersection of texts and images, undermine the cultural scripts which inform the narratives of these two diasporic artists. By focusing on paratextual elements, the author also demonstrates that the transnational trajectories of the two works are path-dependent on mainstream tropes about state socialism. Lastly, given that the two comics feature internationally in school curricula and are adopted by teachers as important methodological tools, the author argues for the crucial importance of comics and life writing pedagogy when teaching graphic autobiographies about post/socialism.
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Komporaly, Jozefina, and Kate O’Connor. "Decomposed Theatre: Re-composing Theatrical Forms in the Time of Pandemic." CONCEPT 26, no. 1 (February 26, 2024): 71–89. http://dx.doi.org/10.37130/146ccb40.
Повний текст джерелаАнотація:
This essay reflects on a practice-as-research project at the intersection of stage translation, live performance and documentation, culminating in an audio recording intended for dissemination in the UK and US. Departing from a brief examination of previous English translations and productions of Decomposed Theatre by award-winning French-Romanian author Matei Vişniec (also known as Matéi Visniec in an international context), the essay engages with the process of workshopping the text and creating a performance version specifically for radio. The discussion focuses on the importance of fusing the different facets of creative practice with contextual and transcultural considerations, and addresses synergies between theory and praxis. It shows the fluidity between processes of writing, translation, directing and acting, drawing attention to the non-hierarchical ethos governing the collaborations involved. The project, created at the height of the Covid pandemic, came about as a response to the restrictions experienced by live performance, and offered an insight into the ways in which theatre artists tried to adapt to this unique status quo in terms of form, content and their relationship with audiences.
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Lönnroth, Harry. "“Sie sagen skål und Herre gud und arrivederci”: On the Multilingual Correspondence between Ellen Thesleff and Gordon Craig." Journal of Finnish Studies 19, no. 1 (June 1, 2016): 104–20. http://dx.doi.org/10.5406/28315081.19.1.07.
Повний текст джерелаАнотація:
Abstract The Finnish painter Ellen Thesleff (1869 − 1954) is one of the most famous female painters in Scandinavian art history. During her stay in Florence, Italy, at the beginning of the twentieth century, she became acquainted with the British theater personality and artist (Edward) Gordon Craig (1872 − 1966). Their correspondence from the first half of the century is a part of European cultural history and art criticism; they write, among other things, about painting and graphics, literature and theater. Of linguistic importance is that the original letters preserved for posterity contain traces of many European languages: not only German, which is a central language in the correspondence, but also French, Italian, and English. The focus of this paper is the coexistence of languages in the multilingual correspondence—about 200 dated and 60 undated letters—kept at the National Library of France in Paris. In this paper, microfilms are used instead of the original material, and the selection of letters is limited to twenty-five. The particular interest lies in Ellen Thesleff as a multiliterate, writing individual, and her choices of and switches between different languages. My study shows that Thesleff used a variety of languages when writing letters. This can, for example, be seen from the perspective of the personal nature and the communicative function of the personal letters, where the “self” of the writer is present. In a way, multilingualism has among other things an emotional function for her: one could, for instance, argue that it was used as a kind of “secret writing” or language play between Thesleff and Craig.