255 research outputs found
Meniscus literary journal
Get PDFMeniscus is a literary journal, published and supported by the Australasian Association of Writing Programs (AAWP) with editors from the United Kingdom,
Australia and New Zealand.
The title of the journal was the result of a visit made by two of the editors to the National Gallery of Australia in Canberra, where James Turrell’s extraordinary installation, ‘Within without’ (2010), led them to think about how surfaces, curves, tension and openness interact. In particular, they were struck by the way in which the surface of the water features, and the uncertainty of the water’s containment, seems to analogise the excitement and anxiety inherent in creative practice, and the delicate balance between possibility and impossibility that is found in much good writing
Wounds in time: the aesthetic afterlives of the Cultural Revolution
Get PDFMy dissertation, ???Wounds in Time: the Aesthetic Afterlives of the Cultural Revolution,??? departs from the traditional historicist approach to the Cultural Revolution, contributing instead an investigation of the Cultural Revolution through its aesthetic afterlives. This study crosses disciplines and seeks to grasp the traumatic traces embedded within works of literature, art, and cinema that deal with the Cultural Revolution consciously or unconsciously, in lucidity or encryption. My analysis of the Cultural Revolution as a traumatic wound endeavors to bring the concealed political crimes, disavowed pains and absent feelings into historical consciousness. Figures central to this study include writers Han Shaogong, Yu Hua, and Hong Ying, artist Zhang Xiaogang, as well as filmmakers Jia Zhangke and Jiang Wen. Drawing on classical theory of trauma by Freud as well as works by subsequent theorists such as Nicholas Abraham and Maria Torok, Cathy Caruth and Dominick LaCapra, I maintain that the Cultural Revolution is not a fixed temporal entity but a phantom that stretches beyond history, finding contemporary cultural avenues of expression, and rematerializing to demand recognition and reparation. Further, by means of bringing trauma theory into a new historical/cultural context, this study translates/revises trauma theory beyond its Eurocentric provenance
The Montana Kaimin, January 10, 1930
Get PDFStudent newspaper of the University of Montana, Missoula.https://scholarworks.umt.edu/studentnewspaper/2199/thumbnail.jp
What is Left
Get PDFThe purpose of this project was to create a collection of poetry that examines the self as a muted element in foreign environments. When placed in a foreign culture, our roles as observers are enhanced due to our limited inclusion within the perceptual frame of references of the cultures and people we observe. Ultimately, the foreigner becomes a parallel sub-system of the dominant foreign culture until such time that he or she makes a direct intrusion into that culture. This level of mutability allows the observer access to cultural elements and interactions inaccessible from within the cultural identity.
The principle extends well beyond the role of observers in foreign environments. Observers are also placed into alienated relationships with the immediate environment. Despite the ability of medical and celestial sciences to observe the worlds within and beyond our immediate sphere of experience, human beings rarely interact with the cellular and celestial levels of reality on a sensory level. Furthermore, the poet is perpetually muted from the inner workings of the subjective self. Our imaginations create worlds that enter the neural programming of our brains and exist in parallel as junction points in the constantly changing electro-chemical map of our cognition.
Drawing from experiences in international travel, alienating silence, childhood fears, and the relationships of people with the galaxy and cellular functions, this poetry attempts to illustrate the connections between the self and the universe beyond human experience using the poetry of Jack Gilbert, Ruth Stone, Stan Rice, James Wright, and Yusef Komunyakaa as models
I Know Him Not, and Never Will: Moby Dick, The Human and the Whale
Get PDFIn this thesis, I argue that Herman Melville's Moby Dick depicts the ocean and whales in a way that develops aesthetic theory into a proto-environmentalist message. Melville draws on theories of the mathematical and dynamic sublime as outlined by Edmund Burke and Immanuel Kant, while also employing Goethe's Theory of Colours in his depictions of the ocean setting. Goethe posits that opposing phenomena require one another to signify and to function, and Melville dramatises this idea throughout a complex and often self-contradictory novel. Moby Dick depicts whale hunting in a paradoxical, unstable way which both defends the practice and highlights its cruel nature. In considering this, I trace how depictions and cultural representations of whales have changed over time, shifting from the whale as icon of the monstrously non-human to the whale as touchstone for environmental humanism. Melville, despite the image of Moby Dick as a monster, also portrays whales in a way which humanises them and allows the reader to empathise with them, so allowing for a counter discourse against whaling to emerge. The industrial consumption of marine animals is highlighted in Moby Dick, as Melville notes the various ways in which whales and similar creatures are used for food and other products. Unscrupulous methods of acquiring resources are paid particular attention in the chapter, ‘Fast-Fish and Loose-Fish,' which I use as a guide to the contradictory ideologies at the heart of the text. I argue that the aesthetic theory embedded in the novel enables a nascent environmentalist consciousness, and I place such moments in dialogue with more recent accounts of whales and work from the field of the oceanic humanities
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