Denise Riley's socialized biology

This essay surveys the work of Denise Riley (b. 1948) from roughly 1975-1985, paying close attention to the formal textures of her prose and poetry alongside the political and personal contexts that occasioned these writings and the ways in which Riley intervened in them. The aim is twofold: firstly, to provide an adequate account of the interconnections between Riley's prose, poetry, and political work, which has not been done adequately to date; secondly, to situate this portrait in terms of the social stakes of literary, anti-capitalist, and feminist politics and pedagogies. Read together, her early prose and poetry trace what she calls a "socialized biology" at the heart of poetic and political language. Riley's work provides strategies for interrupting the traditional view of poetry as pre-political moral training

Fragments of Boethius: The Reconstruction of the Cotton Manuscript of the Alfredian Text

‘These fragments I have shored against my ruins’: T. S. Eliot's metaphor in The Waste Land evokes the evanescent frailty of human existence and worldly endeavour with a poignancy that the Anglo-Saxons would surely have appreciated. Such a concept lies at the heart of Boethius's De consolatione Philosophiae, and perhaps prompted King Alfred to include this work amongst those which he considered most necessary for all men to know. Written in the early sixth century, Boethius's work was translated from Latin into Old English at the end of the ninth century, possibly by Alfred himself. It survives in two versions, one in prose (probably composed first) and the other in prose and verse, containing versifications of Boethius's Latin metres which had originally been rendered as Old English prose. It is the latter of these versions which will be the focus of my discussion here. Damaged beyond repair by fire and water, the set of fragments which contains this copy will be seen to epitomize the ideas imparted by the work in ways that Alfred could never have envisaged

The proxemics of 'Neither'

This chapter takes as its point of departure the frequent injunction in Beckett’s late prose works to build or construct an environment for a character to inhabit. It is proposed that this instruction is central to the textual operations of the late prose. Making use of the work of Philippe Hamon on text and architecture, and through a close reading of Beckett’s short prose piece (originally written as a libretto for Morton Feldman), it is argued that, despite its sparse nature, ‘Neither’ can, in large part, still be read as exemplifying Hamon’s insights into the operations of the textual and the architectural as these were manifest in the classic realist novel. The specific challenges which Beckett’s late prose present, however, require a supplementary critical vocabulary in order to account for the manner in which the textual and the architectural interpenetrate and expose each other in the twentieth century

Iced vovos: a one act play [Play script]

This script was developed through a collaborative process. A work of stream-of-consciousness prose reflecting on Iced VoVos, an iconic Australian confectionery, penned by Janet McDonald constitutes the heart of the script. This piece was adapted to script form by Dallas Baker, who created characters through which Janet's prose could come to life. The explorative questions that emerged when Dallas and Janet began discussing the adaptation of the text focussed on memory and embodied experience. As the collaboratively led inducement of material developed, the period of ‘handing over’ the prose for adaptation engaged ghosting that resisted what Diana Taylor calls ‘the archive’. This is a place relegated in theatre to where performative ideas take concrete form, often as a written script that can be ‘published’, and therefore maintains an emphasis on discourse to manifest creative enterprise, rather than the lived experience of the performance of the work. What emerged from the collaboration was a script that took the prose in a different, unexpected yet intriguing, direction. This research was therefore more about exploring the relational aspects of working together. In this sense the knowledge produced by this research collaboration manifests Taylor's ‘repertoire’ (rather than ‘archive’) of performance and relates to the richness of both collaborative experience and the creative outcomes arising from that experience

Prose in social work and therapy

Hasło w "Słowniku metod, technik i form pracy socjalnej, opiekuńczej i terapeutycznej" ukazuje zastosowanie prozy w pracy socjalnej i terapeutycznej.The entry in "The dictionary of methods, techniques and forms in the social, caring and therapeutic work" shows using prose in the social work and therapy

Portfolio Vol. V N 2

Koons, Marilynn. America Is . Poem. 4. Rucker, J.G. Nothing but the Beat . Prose. 5. Wyman, John. Pringle . Prose. 6. Tolan, Marace. Hands at Midnight . Poem. 7. Wright, Edward A. All in a Day\u27s Work . Prose. 8. Benson, Virginia. Now is the Time . Prose. 9. Moll, Wilhelm. The Dead Lover . Prose. 12. Flammt, Marga. Escape . Poem. 14. Rolph, Alice. Fancy\u27s Flight . Poem. 14. Vercoe, Mary. Future . Poem. 14. Klammt,Marga. Parting . Poem. 14. Anonymous. Denisoniana . Picture. 10. Benson, Virginia. Marquand-H.M. Pulham. Esquire . Prose. 15. Benson, Virginia. Junior Miss . Prose. 15. Reynolds, Virginia. Stubs of the Jungle . Prose. 16. Masquers. Thespiana . Prose. 17. Anonymous. How to Knit a Sweater, or, Eighteen Holes . Prose. 20

Flamingo Vol. II N 6

Keeler, Clyde. Cover. Picture. 0. Wasp. Untitled. Prose. 1. Sun Dial. Wisdom . Prose. 1. Phoenix. Untitled. Prose. 1. Anonymous. Ham and Yeggs . Picture. 6. Leet, L. Don. The Watch . Prose. 7. R. The Musician . Poem. 8. G.C. Evolution . Poem. 8. W.A.V. Roaming . Poem. 8. F. The Miracle . Poem. 8. R.N.E. Evening, The Sixteenth . Poem. 8. Bogardus, Ethel. Graft . Prose. 9. J.M.P. Theseus Up-To-Date or The Modern Minotaur . Prose. 10. Mather, W.G. The Denison Masquers Club . Prose. 11. Vogel, W.A. \u27Twas Always Thus . Poem. 12. Anonymous. Untitled. Prose. 12. C.I. Stuck, By Gum . Picture. 12. Anonymous. Deliver Me From . Prose. 12. Anonymous. At The Tryouts . Prose. 12. Anonymous. A Popular Air . Picture. 12. Anonymous. Stage Staggers . Prose. 13. Anonymous. Now We Know Where The Flapper Got Her Name . Picture. 13. Anonymous. Untitled. Prose. 13. Anonymous. Untitled. Picture. 13. Anonymous. Untitled. Prose. 14. Anonymous. Untitled. Prose. 18. Anonymous. Untitled. Picture. 18. Potter, W.M. Wana . Prose. 18. Anonymous. Benny Says . Prose. 18. George. Untitled. Picture. 18. Anonymous. Untitled. Prose. 18. Bridge, Edgar. Our Own Stage Terms . Cartoon. 18. Anonymous. Comme Ci- A Dialogue . Prose. 20. Anonymous. Let Him Rave . Prose. 20. Anonymous. Untitled. Prose. 20. Anonymous. Untitled. Picture. 20. Anonymous. Untitled. Prose. 22. Lord Jeff. Untitled. Prose. 22. Williams, Grace. Untitled. Picture. 22. Orange Peel. Rah! Rah! Rah! . Prose. 22. Anonymous. Untitled. Prose. 23. Goblin. Untitled. Prose. 23. Scalper Untitled. Prose. 23. Mercury. Untitled. Prose. 23. Judge. Untitled. Prose. 24. Octopus. Untitled. Prose. 24. Gargoyle. It\u27s A Gift . Prose. 24. Sun Dodger. Untitled. Prose. 24. Octopus. Untitled. Prose. 25. Panther. Untitled. Prose. 25. Lord Jeff. Untitled. Prose. 25. Anonymous. Untitled. Prose. 25. Green Gander. Untitled. Prose. 25. Froth. Untitled. Prose. 25. Purple Parrot. Untitled. Prose. 25. Bean Pot. Untitled. Prose. 25. Purple Cow. Untitled. Prose. 26. Wasp. Untitled. Prose. 26. Siren. Doity Work . Prose. 26. Anonymous. Untitled. Prose. 26. Yale Record. Untitled. Prose. 26. Voo-Doo. Untitled. Prose. 26. Jay. Untitled. Prose. 26. Anonymous. Untitled. Prose. 26. Anonymous. Ad In! . Prose. 26. Orange Peel. Untitled. Prose. 29. Sun Dial. Fancy . Prose. 29. Reel, Virginia. Same Method . Prose. 29. Bear Skin. A Tight Show . Prose. 29. Anonymous. Untitled. Prose. 29. Goblin. Untitled. Prose. 29. Cracker. Untitled. Prose. 29. Octopus. Untitled. Prose. 29. Anonymous. Untitled. Prose. 32. Dirge. For The Worse . Prose. 32. Octopus. Daily Reminder . Prose. 32. Voo-Doo. Untitled. Prose. 32. Lord Jeff. Untitled. Prose. 32

A huge debt to 20th century Modernism? António Lobo Antunes’s prose style and his models

The peculiar prose style António Lobo Antunes has been developing since the publication of his fist novel (Memória de Elefante, 1979) until the date, in a vast prose work that encompasses more than three decades and comprises 27 novels and various short-stories' books, recurs constantly to techniques typical of the 20th Century experimentalism. Far too obvious is the influence of William Faulkner's The Sound and the Fury technique, and equally strong are echoes of Joyce's and Woolf's prose experiments. What is astonishing in ALA's work, however, is the fact that he starts from those premises not just to demonstrate that such a prose in Portuguese is possible, with a conscient attention to readers' and critics' reaction: on the contrary, given the dimension his prose work acquired in time and in terms of public recognition and success, he manages somehow unexpectedly to create a new prose style that does not possess the ephemeral and momentarily iconoclastical charachteristics that usually experimentalism shows. His style becomes more and more canonical – novel after novel – and more and more experimental at the same time. From a historical/critic point of view, he inaugurated a new season in prose, in which what was experimental and anti-traditional acquires somehow the status of new tradition.info:eu-repo/semantics/publishedVersio

A Handbook To Raymond Knister\u27s Longer Prose Fiction

Raymond Knister (1899-1932), an experimental Canadian writer of the nineteen-twenties, wrote longer prose fiction which withstands the test of time, but has received little attention. Much of Knister\u27s longer prose fiction remains unpublished.;The purpose of this thesis is to provide a critical introduction to Knister\u27s novels and novellas in the form of a handbook. Since so much of Knister\u27s longer prose fiction is unpublished, the handbook format followed in this thesis is designed to provide a clear and convenient introduction to Knister\u27s longer prose fiction. Each work is discussed under the following headings: dates of composition and the text, the action, influences and sources, context, and critical reception. For each work, discussion of technique and theme follows discussion of background.;Knister\u27s work, over the decade during which he wrote novels and novellas, reflects an increasing skill at using a variety of techniques in capturing the rich complexity of reality. In his longer prose fiction, Knister increasingly assimilates recognition of tangible and intangible realities, or material and psychological actualities. Knister\u27s longer prose fiction celebrates everyday reality while, with increasing sophistication, granting the complexity of experienced reality.;This thesis, as a handbook, introduces the technical and thematic range of Knister\u27s novels and novellas, published and unpublished; although Knister was a leading Canadian writer of the twenties, no discussion of his longer prose fiction currently exists

Flamingo Vol. IV N 2

Schmitz. Cover. Picture. 0. Sun Dodger. LADY-, HERE I AM. Prose. 1. Anonymous. Untitled. Picture. 5. Anonymous. Prose. 7. Anonymous. This Thing Evolution. Prose. 7.; I.E.A. SPRING BREATH. Poem. 8. I.E.A. Night. Poem. 8. C.K. THE BUBBLE. Poem. 8. Anonymous. Night. Poem. 8. I.E.A. Effects. Poem. 8. G.W. THE DIFFERENCE. Poem. 8. Gila Monster. Mad May. Prose. 9. Kated, Ed U. Romeo, Beware! Poem. 10. Anonymous. Untitled. Prose. 10. Anonymous. Untitled. Prose. 10. Anonymous. Picture. 10. Anonymous. PRIMORDIAL. Prose. 10. Anonymous. SOMETIMES. Poem. 10. Anonymous, IT\u27S A LOT TO ME, But nothing to thee. Poem. 10. Anonymous. Untitled. Prose. 10. Valspar, U.S. People Who Want to Look Young and Beautiful. Prose. 11. Del. \u27To snare some other bird.\u27 Picture. 11. Anonymous. Picture. 12. Anonymous. Untitled. Prose. 12. G.W. Untitled. Prose. 12. Anonymous. Untitled. Prose. 12. Wellman, G. 7:00 A. M. Poem. 13. Anonymous. Untitled. Prose. 13. Anonymous. Portraits of Local Celebrities Number Three. Picture. 13. E.T. TO CHLOE CAMPUSSED. Poem. 13. Anonymous. Untitled. Prose. 13. Anonymous. Untitled. Poem. 13. Anonymous. Untitled. Prose. 13. Anonymous. Untitled. Poem. 13. Anonymous. ADAM\u27S RIB. Poem. 13. Anonymous. Untitled. Prose. 13. Anonymous. THIS\u27LL RUSSIA. Prose. 13. Anonymous. Untitled. Prose. 13. Howard. THE BELLS. Poem. 14. Anonymous. Untitled. Prose. 14. Anonymous. Untitled. Poem. 14. Anonymous. Untitled. Prose. 14. Anonymous. Untitled. Prose. 14. H.K. Picture. 14. Anonymous. Untitled. Prose. 14. Anonymous. Untitled. Poem. 14. Anonymous. Untitled. Prose. 14. Anonymous. Untitled. Poem. 14. Anonymous. Untitled. Picture. 15. Anonymous. 1923—TRACK—1923. Prose. 15. Anonymous. Untitled. Picture. 15. Anonymous. Untitled. Picture. 15. Anonymous. In. Prose. 16. Anonymous. SPIKED SHOES. Prose. 17. Anonymous. Untitled. Prose. 18. Anonymous. Untitled. Prose. 18. Anonymous. Untitled. Prose. 18. E.B. Spring Must Be Here. Picture. 19. E.T. AH! BITTER GRIEF. Poem. 20. Anonymous. THE HAIR-BRAINED BOY. Poem. 20. Davis, Dick. Picture. 20. Anonymous. Untitled. Poem. 20. Anonymous. Untitled. Prose. 20. Anonymous. Untitled. Prose. 20. Anonymous. 1923—BASEBALL—1923. Prose. 21. Anonymous. Untitled. Prose. 21. Anonymous. Picture. 22. Anonymous. Untitled. Prose. 22. C.K. and K.H. A Reign Check. Picture. 22. Medley. Untitled. Prose. 25. Wisconsin Octopus. Untitled. Prose. 25. Sun Dodger. HERE, KITTY. Prose. 25. Anonymous. Untitled. Prose. 25. Anonymous. Untitled. Prose. 25. Life. Untitled. Prose. 25. Goblin. Untitled. Prose. 26. Boll Weevil. Quick Work. Prose. 26. Lord Jeff. Untitled. Prose. 26. Chicago News. Untitled. Prose. 26. Anonymous. Untitled. Prose. 26. Tar Baby. Untitled. Prose. 26. Texas Scalper. Untitled. Prose. 26. Goblin. Untitled. Prose. 26. Gargoyle. Untitled. Prose. 26. Panther. Untitled. Prose. 26. Clyde. Picture. 28. Anonymous. Untitled. Prose. 28. Froth. Untitled. Prose. 28. Sun Dodger. Untitled. Prose. 28. Princeton Tiger. Untitled. Prose. 28. Boston Transcript. WHAT\u27D SHE CARE? Prose. 28. Birmingham Age-Herald. The First Lesson. Prose. 28. Princeton Tiger. Untitled. Prose. 29. Black and Blue Jay. Untitled. Prose. 29. Juggler. Untitled. Prose. 29. Sour Owl. THERE\u27S A REASON! Prose. 31. Mink. Untitled. Prose. 31. Bison. Untitled. Prose. 31. Lampoon. Untitled. Prose. 31. Punch Bowl. Untitled. Prose. 31. Showme. Untitled. Prose. 31. Juggler. Untitled. Prose. 31. Mink. Untitled. Prose. 31. Dirge. Untitled. Prose. 31. Couger\u27s Paw. Untitled. Prose. 31. Black and Blue Jay. Untitled. Prose. 31. Bison. Untitled. Prose. 32. Bison. Caution. Prose. 32. Lampoon. Untitled. Poem. 32. Sour Owl. Untitled. Prose. 32. Boston U. Beanpot. Fore. Poem. 32. Tiger. Untitled. Prose. 32. Purple Parrot. ABOUT THIS TIME OF YEAR. Prose. 32