Realistic Man, Fantasy Policeman: The Longevity of Ruth Rendell's Reginald Wexford

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Performing Joseph Cornell\u27s chronotopes of assemblage

In this project I study Joseph Cornell’s practices of art-making through a performative lens. Rather than focusing on his finished products, I am interested in his embodied processes of assemblage. I call on Mikhail Bakhtin’s theory of the chronotope to articulate how time and space operate within Cornell’s finished works and his processes of assemblage art. In so doing, I conceptualize Cornell’s textual chronotope, métaphysique d’éphemera or “everyday magic,” as well as his chronotopes of assemblage: wandering, archiving, collaging, and assembling. I move from the finished work to the contingencies and strategies of the performance of assemblage. This project is unique because I extend my research into the creative realm, developing multi-media artworks through my embodiment of Cornell’s chronotopes of assemblage. My performance of Cornell’s chronotopes engenders projects that provide discoveries and expand my understanding of each chronotope, Cornell’s practices, and my own creative and scholarly work. The projects include: wandering New Orleans collecting memories that I then use to create an interactive website, creating a video of one of Cornell’s film scripts that was never realized by combining digital and analog technologies, creating a collage film composed of found footage, and directing a theatrical performance, Métaphysique d’Éphemera, that was restaged three years later. I conclude by arguing that Cornell’s textual chronotope, métaphysique d’éphemera, offers an aesthetic to work within, while his chronotopes of assemblage provide a model for both creative and scholarly work. I conclude by questioning whether the textual and process chronotopes are inextricably connected or if they can be practiced independently by artists/scholars

Jack Kerouac\u27s spontaneous prose: a performance genealogy of the fiction

This study analyzes Jack Kerouac’s writing method of spontaneous prose and articulates how the method can be understood as performative writing. Kerouac’s “Essentials of Spontaneous Prose,” On the Road, Visions of Cody, and Doctor Sax are explored to evaluate both the successes and failures of the author’s attempts to break literary boundaries and create a new writing method based upon spontaneous tenets. These three novels, which were written in succession from 1950 to 1953 when Kerouac was in his most productive period, represent both the emergence and dissent of the author’s use of performative writing. To explicate the cultural genesis and dissemination of Kerouac’s writing method, the historiographical method of performance genealogy is utilized to address two fictions operating within the larger discourse surrounding Kerouac. First, by focusing on the author’s works rather than on his biographical life, this study seeks to contribute to our understanding of Kerouac’s status as an author and as a performer of fiction. Second, by focusing on the cultural historicity of his writing method, it is argued that Kerouac’s method of spontaneous prose is a much more complicated approach to novelistic discourse than both his earlier critics and some contemporary fans have acknowledged. By addressing spontaneous prose as a method of performative writing, this study articulates what spontaneous prose is and what it does. To this end, the study tracks the doing of spontaneity over the course of three separate literary performances of the novel. As the genealogical trajectory of the writing method demonstrates, in On the Road Kerouac has only begun to implement the changes he wanted to explore after discovering his literary method. Visions of Cody represents the author’s commitment to the writing method, but as its series of literary experiments shows, Kerouac is not yet able to balance his writing method with a sustained approach to narrative story telling. Finally, in Doctor Sax, Kerouac is able to achieve what his two earlier novels had not. That is, a synthesis between the form of invention and the subjects of invention themselves. Implications for performance studies and performative writing are explored

Dingo media? R v Chamberlain as model for an Australian media event

Dingo Media examines the development of media events using as a case study one of Australia’s most widely known criminal investigations, the disappearance of Azaria Chamberlain at “Ayers Rock”. Considering the case as a blueprint for the way mass media events develop and evolve in the late capitalist era, this thesis suggests that the event marks a turning point in negotiation of the public sphere and Australian national identity. Using an original model, I trace from the 1980s five phases through which news stories pass in their evolution as modern media events by comparing the Chamberlain saga to contemporary cases involving “controversial” women, Schapelle Corby, Joanne Lees and Pauline Hanson. The first phase examines the emerging practice of news workers focusing on personalities rather than events; the second phase analyses both the formation of counter-publics protesting the conviction, and the development of a dialogic connection between media and publics; the third phase investigates the rise of a modern celebrity industry promoting “ordinary” individuals into subjects of media discourse; the fourth phase considers the process of mythic production surrounding the Chamberlain case as related to processes of nation-building in the late 1980s; finally, the fifth phase critiques the prevalent view that, through continual retelling, the event has suffered a loss of meaning. Axiomatic to this study will be the politics of representation, how the media records, organises and mythologises information, as well as the interaction between texts and audiences

European History 1648 to Present

Openly licensed anthology focused on the theme of European History from 1648-Present as reflected in literature. Contains Heart of Darkness by Joseph Conrad and Communist Manifesto by Karl Marx and Friedrich Engels

Recognizing Co-Creators in Four Configurations: Critical Questions for Web Archiving

Four categories of co-creator shape web archivists\u27 practice and influence the development of web archives: social forces, users and uses, subjects of web archives, and technical agents. This paper illustrates how these categories of co-creator overlap and interact in four specific web archiving contexts. It recommends that web archivists acknowledge this complex array of contributors as a way to imagine web archives differently. A critical approach to web archiving recognizes relationships and blended roles among stakeholders; seeks opportunities for non-extractive archival activity; and acknowledges the value of creative reuse as an important aspect of preservation

Journeys to Others and Lessons of Self: Carlos Castaneda in \u3cem\u3eCamposcape\u3c/em\u3e

Drawing on Michel Foucault’s concept of heterotopia, this article examines the importance of place and gender within constructions of race politics in Carlos Castaneda’s series on shamanism. Championing a “separate reality” predicated on an indigenous worldview, Castaneda’s lessons invited transnational middle-class youth to journey alongside him to camposcape—an anachronistic and idealized countryside—as a means to escape the bourgeois values of their homelands and find spiritual fulfillment in a timeless and authentic Mexico. Castaneda’s work proposed new viable spaces of difference in Mexico, yet inscribed these spaces with a masculinist discourse that served to neutralize the gender trouble within the counterculture movement in both Mexico and the US