230 research outputs found
Conversations Between Medieval Texts and Digital Editions: The Remediation of Harley 4205
While the knightly and kingly images of the British Library’s MS Harley 4205 are visually intriguing, there has been little research dedicated to this manuscript. These figures and their textual counterparts reveal a tension central to this manuscript between its repetitious features and identifying markers. While there are many repetitious elements of Harley 4205, these features do not indicate a static work; rather, the features of Harley 4205 display a dialogue with other materials and its audience. Harley 4205 will be approached as a case study, to explore the relationship between manuscript presentation, content, and form in the communication of information to its reader. Further, Harley 4205’s remediation as a digital facsimile increases accessibility to the book. Considerations of how digitization both benefits and limits interacting with this manuscript will bring digital and medieval understanding of text into dialogue, a potentially beneficial relationship for both. An appreciation of the effects of digital remediation on medieval texts can be significant, for digital editions make medieval works that would otherwise be difficult, if not impossible, to access increasingly available to a wider audience
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Arts of the Impossible: Violence, Trauma, and Erasure in the Global South
This dissertation examines how contemporary Anglophone, Hispanophone, and Francophone literature from Africa, Latin America, the Caribbean, and South Asia (1984-present) reconfigures historical archives to negotiate the ethics of representing state violence in repressive societies. I identify new literary forms politically conscious writers are devising to capture and contest human rights violations. Using an interdisciplinary decolonial feminist framework, I closely read works by Cristina Peri Rossi, Michael Ondaatje, M. NourbeSe Philip, Edwidge Danticat, Boubacar Boris Diop, and Roberto Bolaño— a diverse set of postcolonial and post-dictatorship writers never before compared in comparative literature. I call these writers’ endeavors to reframe traumatic history “arts of the impossible,” which defy the alleged unrepresentability of collective trauma to secure justice and forestall impunity. I compare representations of wide-ranging atrocities including forced disappearance, slavery, genocide, and femicide— crimes exemplifying what I term “ontological erasure.” At stake in ontological erasure are not simply lost perspectives from multiply marginalized victims, like women and queer people of color, but the very possibility of citizenship and the will to dissent state recognition enables. To resist the threats posed by the authorization of these crimes to political freedom, these writers, I argue, reinvent evidentiary forms historically suppressed by authoritarian states, including court transcripts, testimonies, forensic reports, and national archives. These authors’ innovations push the boundaries of what counts as “evidence” in acts of state violence that are uniquely determined by erasure; they also imagine new methods for remembering past atrocities without compromising recognition for stigmatized minorities in the future
Good Mourning Canada? Canadian Military Commemoration and Its Lost Subjects
Using the Highway of Heroes as my point of departure, in “Good Mourning Canada? Canadian Military Commemoration and its Lost Subjects” I interrogate the role of Canadian military commemoration in the production of hierarchies of grievability and the construction of nationalist narratives. I argue that military commemoration plays a critical role in the performative constitution of the privileged—and the “lost”—subjects of Canadian nationalism. My investigation looks first at how Canadian military memorial projects operate as a means of interpellating Canada’s citizen populations into a particular kind of settler-nationalism, and second, at how performance might serve as a methodology towards the production of counter-memorials that resist the forgetful narratives of Canadian nationalism.
My methodological approach weaves historical, theoretical, and performance analyses with first-person reflections on three counter-memorial meditations I performed as a method of embodied inquiry and critical engagement. While the reflective remains of Impact Afghanistan War are scattered throughout this dissertation, and Unravel: A meditation on the warp and weft of militarism and Flag of Tears are discussed explicitly in the final chapters, all three counter-memorial meditations inform—and are informed by—the entire project.
Throughout this dissertation I deliberately posit both Canadian military commemoration, and performance, as broadly construed. I investigate repertorial performances of commemoration—like the Highway of Heroes, Remembrance Day ceremonies, and Impact—in addition to the archival performances of institutions and objects—like the Canadian War Museum, military fatigues, and Unravel’s threaded remains. I also intentionally wander outside the constructed borders of Canadian military commemoration to consider how these memorials disappear the violence of settler-colonialism. I bring popular culture performances of nationalist and counter-nationalist narratives—like the Winter Olympics and Jeff Barnaby’s film, Rhymes for Young Ghouls—into conversation with performances overtly linked to the contested terrains of Canadian social memory, like the World War I and II documentary, The Valour and the Horror, and Canada’s Truth and Reconciliation Commission. In bringing this range of performances together under the umbrella of Canadian military commemoration I make visible the larger scenario of Canadian settler nationalism and its sticky “inter(in)animations” with militarism and colonialism.
Read my QR: Quilla Constance and the conceptualist promise of intelligibility
This essay contributes to the ongoing questioning of the definitions and boundaries of conceptualism from intersectional feminist psychoanalytic perspectives, and specifically through the practice of Quilla Constance, aka QC or #QC, the post-punk, neo-glam, gender-questioning performance persona of Jennifer Allen. A songwriter and musician, painter and visual performer in costumes designed and made by Jennifer Allen, #QC’s performance practice occasionally incorporates fragments of musical performances on cello and always includes some crypto-linguistic vocal improvisation, a verbal automatism that references trance states and ‘speaking in tongues’ as well as scat singing in jazz
Conceptualism - intersectional readings, international framings: situating 'Black Artists & Modernism' in Europe
‘Conceptualism: Intersectional Readings, International Framings’ was an international conference presented by the AHRC research project, Black Artists and Modernism, in collaboration with Van Abbemuseum. The conference was organised and co-convened by susan pui san lok, Sophie Orlando and Nick Aikens. The edited conference proceedings were published as an ebook by Van Abbemuseum in December 2019
Deconstructionist typography
Ankara : The Department of Graphic Design and the Institute of Fine Arts of Bilkent Univ., 1995.Thesis (Master's) -- Bilkent University, 1995.Includes bibliographical references leaves 92-101.This thesis probes into how semiotics and deconstructionism on
the one hand, technological progress on the other, have challenged
typography. It begins with a short historical account of
contemporary typography, focusing especially on modernist
movement, and then discusses the consequences of digital
revolution and the rising postmodern culture for contemporary
type and t)q)ography. After explaining the structural approach to
language and semiotics, it discusses critiques directed by poststructuralism
and particularly deconstructionism. The influence of
deconstructionism on typography is examined in detail, especially
in the context of developments in digital technology. The
contribution of deconstructionist typography is discussed in both
graphetic and graphological aspects. How deconstructionist
t)T)ography challenges and transforms the conventional dualities of
typography, and consequently ofl'er new, open-ended forms of
reading and writing, is demonstrated.Tansel, SeprenM.S
Accompaniment for the climb: Becoming reparational language educators of Spanish as a ‘heritage’ language
University of Minnesota Ph.D. dissertation. December 2017. Major: Education, Curriculum and Instruction. Advisor: Martha Bigelow. 1 computer file (PDF); vii, 342 pages.‘Heritage’ language classes (e.g., native speaker or native language literacy classes) are often taught by already licensed world language teachers. Only a handful of U.S. teacher preparation programs offer explicit and extensive preparation for teaching ‘heritage’ languages (National Heritage Language Research Center, 2017). ‘Heritage’ language pedagogies (Fairclough & Beaudrie, 2014) and teacher preparation (Caballero, 2014; Potowski & Carreira, 2004) are underdeveloped and undertheorized. This dissertation considers what is possible when a teacher learns to teach Spanish as a ‘heritage’ language by attending to raciolinguistic ideologies and raced-language schooling policies/practices, generational knowledge of colonialism and anticolonial resistance, and lineages of collective struggle. This is informative for both the preparation/support of ‘heritage’-language specific teachers and for conceptualizing of critical and humanizing pedagogies that center the desires and possibilities of ‘heritage’ language learners. This dissertation emerges from the participatory design of one multiyear ‘heritage’ language program at a Midwestern city public high school that took shape around reparational aims for educational justice. It draws on five years of participatory research designs and the use of paired collective memory work. Participatory research connected multilingual and multiply racialized youth of Américas descent (self-named as Jóvenes con Derechos), their black multilingual non-Latina Spanish as a heritage language teacher (Toni), and a white multilingual non-Latina teacher educator (Jenna) as co-researchers and co-designers. Over five years, Jóvenes con Derechos youth, Toni, and Jenna engaged in multiple overlapping and interacting participatory action research and design projects that shaped the development of a reparational stance towards ‘heritage’ language education, curriculum, and pedagogical approaches. Youth-led participatory action research projects connected youth with existing movements for social change led by members of their own communities and in solidarity with other communities of color and Indigenous communities in their state and beyond. Using participatory design research components of historicity, instructional thinging, curricular infrastructuring, and role re-mediations, this study offers methodological and conceptual theorizing of participatory and humanizing research and pedagogies. I argue for the need of “methodological arts of the contact zone” and suggest as examples the framework of “interlapping participatory research projects” and collective memory work. This work also outlines an argument for conceptualizing ‘heritage’ language education as reparational in its desires and designs. The methodological framework of interlapping participatory research, accompanied with paired collective memory work, is then used to make visible the processes of becoming reparational language educators through a memory work montage of instructional thinging and necessary role re-mediations over time. Final implications consider what is required of teacher preparation institutions to engage in the formation of critical pedagogues who take a reparational stance to language education that understands multilingual youth of color as co-designers of their educational experience in schools
Amid the debris: ruins of underdevelopment in contemporary Brazilian documentary
This thesis defines an aesthetics of ruins in contemporary Brazilian documentary. It examines strategies of spatial representation employed by present-day documentary-makers and places their films into three groups. The first focuses on the federal capital, Brasília (The Age of Stone (2013) and White Out, Black In (2014)); the second investigates the former federal capital, Rio de Janeiro (ExPerimetral (2016), The Harbour (2013), Tropical Curse (2016), and HU Enigma (2011)); and the third explores Native territories (Corumbiara: They Shoot Indians, Don’t They? (2009), Tava, The House of Stone (2012), Two Villages, One Path (2008), and Guarani Exile (2011)). In portraying ruinscapes in different ways, the thesis argues that these unconventional films articulate critiques of the notions of progress and (under)development in the Brazilian nation. It addresses this body of contemporary films in relation to the legacies of Cinema Novo, Tropicália and Cinema Marginal, asking how the present-day films dialogue with or depart from this precedent. In exploring this dialogue, the selected films challenge not only documentary-making conventions but also the country’s official narrative. In this regard, the thesis argues that the ruins of Brazil are the ruins of underdevelopment, as framed by this particular body of films
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