“Scope for elbow and mind”: industrial labor and working-class culture in the nonfiction of Jack Hilton AND “To pick out for oneself, to choose”: Ezra Pound, Carl Schmitt, and the poetics of sovereignty

Jack Hilton was a working-class author who frequently expressed ambivalent attitudes toward modernity and industrialism. He often seems nostalgic for a pre-industrial past, yet simultaneously acknowledges the material benefits of industrialism and the difficulties of rural life. Many of Hilton’s critiques of industry focus on the effects of mechanized or “rationalized” labor on the intellectual and cultural development of the working class. But while Hilton critiques industrial labor, he is careful not to romanticize labor in other fields, acknowledging the oppressive nature of all wage labor and its negative effects on culture. In this essay, I outline Hilton’s critique of rationalized work and its effects on working-class culture. Then, I contrast his criticism of industry with his depictions of other types of work, including both agricultural labor and work in skilled trades, highlighting how Hilton problematizes his own critique of rationalization. I conclude by detailing Hilton’s proposed solutions to labor’s negative effects on culture, and explore the extent to which his concern for working-class culture informed his support of socialism, which he believed would provide working-class people with the economic stability and leisure time necessary for intellectual and artistic pursuits. Hilton’s materialist analysis of his own cultural moment seems to anticipate cultural studies methodology, positioning Hilton as part of the intellectual pre-history of the discipline. Moreover, Hilton’s refusal to separate cultural and political critique provides a model of cultural studies as an active political practice. AND. This essay explores the apparent contradiction between Ezra Pound’s foundational role in the formulation of modernist poetics and his active engagement in fascist political projects beginning in the interwar years and continuing through World War II. Recently, many scholars have worked to document the extent of Pound’s investment in fascist projects and to explicate the political and social content of much of his poetry. Yet the question still stands: what connections exist between Pound’s understandings of poetics and politics? This essay seeks to address this question by examining Pound’s inter-war nonfiction prose. I read these texts alongside the work of German judicial theorist Carl Schmitt, focusing on his theory of sovereignty. First, I outline Schmitt’s definition of sovereignty and the relationship between a sovereign’s power and his use of language. Using Schmitt as a theoretical framework, I then turn to Pound’s early articulations of the role of the artist and the implications of that role on his creation of a paratactic poetic style. By creating a new poetic language that denies the figurative, Pound rescues poetry from the flaws of discursivity by allowing it to approach the status of action. His articulation of aesthetic problems in terms of sovereignty carries over into his political writing and eventual support of fascist dictators like Mussolini. By using Schmitt’s work to explicate Pound’s, I also demonstrate the relevance of Schmitt’s judicial theory to literary studies and provide a framework for further investigations of the political implications of modernist poetics

Making Media Matter

This book is an essential resource for media educators working to promote critical thinking, creativity, and civic engagement through their teaching. Connecting theory and research with creative projects and analyses of pop culture, it models an integrated and practical approach to media education. In order to prepare learners to successfully navigate rapid shifts in digital technology and popular culture, media educators in both secondary and university settings need to develop fresh, innovative approaches. Integrating concepts and practices from the fields of media studies, media arts, and media literacy, this book prepares teachers to help their students make connections between their studies, uses of media, creative expression, and political participation. As educators implement the strategies in this book in their curricula and pedagogy, they will be empowered to help their students more thoughtfully engage with media culture and use their intelligence and imagination to address pressing challenges facing our world today. Making Media Matter is an engaging and accessible read for educators and scholars in the areas of media literacy, media and cultural studies, media arts, and communication studies

Making Media Matter

This book is an essential resource for media educators working to promote critical thinking, creativity, and civic engagement through their teaching. Connecting theory and research with creative projects and analyses of pop culture, it models an integrated and practical approach to media education. In order to prepare learners to successfully navigate rapid shifts in digital technology and popular culture, media educators in both secondary and university settings need to develop fresh, innovative approaches. Integrating concepts and practices from the fields of media studies, media arts, and media literacy, this book prepares teachers to help their students make connections between their studies, uses of media, creative expression, and political participation. As educators implement the strategies in this book in their curricula and pedagogy, they will be empowered to help their students more thoughtfully engage with media culture and use their intelligence and imagination to address pressing challenges facing our world today. Making Media Matter is an engaging and accessible read for educators and scholars in the areas of media literacy, media and cultural studies, media arts, and communication studies

Refined electrophysiological recording and processing of neural signals from the retina and ascending visual pathways

The purpose of this thesis was the development of refined methods for recording and processing of neural signals of the retina and ascending visual pathways. The first chapter describes briefly the fundamentals of the human visual system and the basics of the functional testing of the retina and the visual pathways. The second and third chapters are dedicated to the processing of visual electrophysiological data using the newly developed software ERG Explorer, and present a proposal for an open and standardized data format, ElVisML, for future proof storage of visual electrophysiological data. The fourth chapter describes the development and application of two novel electrodes: First a contact lens electrode for the recording of electrical potentials of the ciliary muscle during accommodation, and second, the marble electrode, which is made of a super-absorbant polymer and allows for a preparation-free recording of visual evoked potentials. Results obtained in studies using the both electrodes are presented. The fifths and last chapter of the thesis presents the results from four studies within the field of visual electrophysiology. The first study examines the ophthalmological assessment of cannabis-induced perception disorder using electrophysiological methods. The second study presents a refined method for the objective assessment of the visual acuity using visual evoked potentials and introduces therefore, a refined stimulus paradigm and a novel method for the analysis of the sweep VEP. The third study presents the results of a newly developed stimulus design for full-field electrophysiology, which allows to assess previously non-recordable electroretinograms. The last study describes a relation of the spatial frequency of a visual stimulus to the amplitudes of visual evoked potentials in comparison to the BOLD response obtained using functional near-infrared spectroscopy and functional magnetic resonance imaging

Devising Solo Performance: A Practitioner’s Enquiry

This research explores the validity and value of ‘solo devising’ as a means for specifying a category of theatre-making that has been little discussed, compared to group devising, in existing literature on devising and postdramatic theatre. Primary source material was obtained through carrying out extended interviews with five experienced British theatre practitioners who have made work that could be described as solo devised performance: Tim Etchells, Bobby Baker, Mike Pearson, Nigel Charnock and Wendy Houstoun. In analysing these interviews, referred to in detail but not reproduced in full, the enquiry draws on a range of writings, including Oddey, Heddon, Harvie, Alexander and George, on devising and making performance and in particular on Melrose’s concept of practitioner-centred expert knowledge, Lehmann’s notion of the postdramatic and Sennett’s specification of expertise in craftsmanship. Chapter One considers solo practice in relation to the idea of a solo devising economy, the interviewees’ professional work and other experimental solo practices within theatre, performance, dance and art. Chapter Two explores how the interviewees create multiple performance personae, doing and undoing notions of individuality and autobiography through strategies of working ‘about’, ‘from’ and ‘beyond’ the self. Chapter Three explores solo devising processes, involving research, generation of material, composition, performance and ‘orchestration’. Chapter Four scrutinises different kinds of collaboration, including ‘audiencing’, as both enabling and productively confounding activities occurring within solo devising. Chapter five specifies some findings about solo devising: that it both involves expert, crafted, individual working, requiring orchestration of a high number of activities and skills, and, simultaneously, practices of negotiated authorship with other artists and audiences, enabling a potentially political reading of its distinctly ambiguous working. An additional finding is that close attention to what expert practitioners say about their work can yield rich information about a specific practice.Dartington College of Art

Digital Forensics and Born-Digital Content in Cultural Heritage Collections

Digital Forensics and Born-Digital Content in Cultural Heritage Collections examines digital forensics and its relevance for contemporary research. The applicability of digital forensics to archivists, curators, and others working within our cultural heritage is not necessarily intuitive. When the shared interests of digital forensics and responsibilities associated with securing and maintaining our cultural legacy are identified—preservation, extraction, documentation, and interpretation, as this report details—the correspondence between these fields of study becomes logical and compelling.Council on Library and Information Resource

Framing dance writing : a corpus linguistics approach

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

On words and wounds: Intergenerational Trauma and Identity in Selected Shoah and Apartheid Memoirs

Englis