Wanderlust or Wanderlost: Gender, Mobility, and Sympathy in Late-Eighteenth-Century Literature

Ingrid Horrocks Women Wanderers and the Writing of Mobility, 1784-1814 lässt die traditionellen Figurationen des männlichen Reisenden und Entdeckers hinter sich und analysiert sowohl die thematischen als auch formalen Repräsentationen der ‚widerwilligen Wanderin‘ in Werken weiblicher Schriftstellerinnen. Sie bettet dazu die Arbeiten von Charlotte Smith, Ann Radcliffe, Mary Wollstonecraft und Frances Burney in den größeren Kontext der Mobility und Sympathy Studies und betont zwei wichtige gegenderte Privilegien, die der Mehrheit der Frauen nicht zur Verfügung standen: das Reisen als eine befreiende Suche nach individueller Identität, und Sympathie als ein ethisches Produkt von losgelöster Beobachtung. Indem Horrocks die fehlende Sympathie in den schmerzvollen, endlosen Bewegungen von Frauen minutiös aufzeigt, gewinnt sie nicht nur Erkenntnisse über den sozialen und psychologischen Status der Frau in Großbritannien im späten achtzehnten Jahrhundert, sondern auch über die Rolle des Reisens in der britischen Literatur allgemein.Departing from traditional figurations of the male traveler-explorer, Ingrid Horrocks’s Women Wanderers and the Writing of Mobility, 1784-1814 analyzes women writers’ thematic as well as formal representations of the ‘reluctant woman wanderer’ figure. Situating the writings of Charlotte Smith, Ann Radcliffe, Mary Wollstonecraft, and Frances Burney in the larger context of mobility and sympathy studies, Horrocks emphasizes two important gendered privileges unavailable to the majority of women: traveling as a liberating quest for individual identity and sympathy as an ethical product of detached observation. As Horrocks meticulously illustrates the absence of sympathy or freedom in a woman’s painfully endless movement, she sheds light on not only women’s social and psychological status in late-eighteenth-century Britain but also the role of traveling in British literature at large

WANDERLOST : 210 dias, 11 países e a volta aos muros em 7000 imagens

Trabalho de Conclusão de Curso (graduação)—Universidade de Brasília, Faculdade de Comunicação Social, Departamento de Audiovisuais e Publicidade, Projeto Experimental em Publicidade, 2013.O presente trabalho pretende descrever e pensar acerca do processo de concepção, produção e realização da exposição Wanderlost. Os conceitos e concepções sobre a reprodutibilidade da arte, o movimento do grafiti, a arte urbana, assim como as reflexões acerca do olhar e o flâneur, compõem o quadro referencial-teórico dessa memória e embasam o exercício criativo realizado pelo autor. Esta memória inclui o relato do processo e percurso da busca gráfica e fotográfica das obras de arte urbana em cidades do continente europeu. _________________________________________________________________________ ABSTRACTThis work wishes to describe and reflect such ideas as the ones involved in the conception, production and realization of the exhibition Wanderlost. Concepts and ideas such as the reproducibility of art, the graffiti movement, street art as well as reflections about the gaze and the flâneur make up the reference and theoretical base of this report to help and solidify the creative exercise produced by the author. This report includes descriptions about the graphic and photographic search of works of street art in european cities

Spring 2019

The Alembic - Spring 2019. 212 pages including covers and advertisements. Table of Contents: Editors Note, 9 Poetry Shea, Cathryn, Shawls of the Color Wheel, 10 Shea, Cathryn, Thought Safe, 12 Shea, Cathryn, Remnants of Star Death, 13 Shea, Cathryn, Visa Balaji Temple, 14 Shea, Cathryn, To Kepler Spacecraft, Not a Man, 15 Ethridge, Rebecca, St. Martin-in-the-Fields, 24 Ilechko, Paul, Paper Trail, 28 Stuart, Jane, Long Lost Waltz No. 9, 39 Striuli, Micol, The Things We Carry, 40 Dabrio, Tyara, Motherland, 42 Thoreen, David, In which Dad Does the Voices..., 44 Ahern, Ed, Corporate Vision, 66 Ahern, Ed, Kairos, 67 Sapp, David, A Keening, 68 Sapp, David, Dead Raccoon, 69 Sapp, David, A Good Death, 70 Sapp, David, Scar, 71 Sapp, David, The Limb, 72 Little, Cecelia, Assateague\u27s Life, 74 Nelms, Sheryl, L., Homeless in New Mexico, 104 Nelms, Sheryl, L., Hot Is, 105 Nelms, Sheryl, L., Grey Wolf, 106 Grey, John, Washington Square, 130 Perchik, Simon, *, 132 Perchik, Simon, *, 133 Raab, Zara, My Name is Hardy, 134 Johnston, Marilyn, Unfragmented Fact, 139 Johnston, Marilyn, Heart to Heart, 141 Johnston, Marilyn,, Being One Year Older than the Age Emily Dickinson Died, 143 Tiboni, Hope, Ocean, 144 Parker, Bruce, April Caller, 160 Parker, Bruce, The Hunters in the Snow, 161 Parker, Bruce, Spring is Madness, 162 Perel, Jane Lunin, Cain and Abel, 180 Perel, Jane Lunin, Cash for Scrap, 181 Rose, Alexandra, The Perseids, 182 Rose, Alexandra, momma\u27s fudge brownies, 183 Rose, Alexandra, Of Gains and Guiles, 184 Lopez, Eliana, Knock Knocking, 186 Lopez, Eliana, Come Home, 188 Lopez, Eliana, I Suppose, 191 Lopez, Eliana, Darkness, 193 Lopez, Eliana, Amateur Imagination, 195 Fiction Monte, Megan, With Her, 17 Press, David, The Club, 30 Brickner, Brianna, The Music Box, 60 Henriquez, Dawyn, Adonis, 123 Mello, Meghan, The Art of Self-Reflection - A Message to the Opinionated, 136 Pack, Jr., Jimmy J., About Facing Freedom With a Little Fear, 145 Monroe, Rebecca, Are You Going?, 164 Translations Nervo, Amado, tr. by Clara Howard, The First Kiss, 50 Nervo, Amado, tr. by Clara Howard, United, 52 Nervo, Amado, tr. by Clara Howard, This Book, 54 Nervo, Amado, tr. by Clara Howard, At Peace, 56 Nervo, Amado, tr. by Clara Howard, Kindly and Silently, 58 Hugo, Victor, tr. by Bailey Zimmiti, When a Child Comes, 107 Hugo, Victor, tr. by Bailey Zimmiti, To My Daughter, Adèle, 113 Hugo, Victor, tr. by Bailey Zimmiti, She is gay and pensive, 115 Hugo, Victor, tr. by Bailey Zimmiti, To the Mother Who has Lost a Child, 117 Hugo, Victor, tr. by Bailey Zimmiti, To the Blind Poet, 121 Prose Poetry McLaren, Kincaid, Tender Headed, 26 Henrique, Dawyn, Harmless Arsonist, 49 Burke, Maggie, Forward, 129 Zygiel, Julia, Sand and Sugar, 159 Venuti, Erin, The Cloud, 163 Interviews Interview with Jennifer Malone, 76 Interview with Thomas Tre G. Gilbert, 82 Interview with Jennifer Militello, 94 Interview with Doug Anderson, 100 Book Reviews Striuli, Micol, Feel Free, 197 Bibilos, Elena, When Life Gives you Lululemons, 200 Photography Rigaud, Claire, Bioluminescence, 87 Rigaud, Claire, Fiordland, 88 Rigaud, Claire, Land of the Long White Cloud, 89 Rigaud, Claire, Emerald Forest, 89 Silva, Nikki, Untitled IX, 90 Silva, Nikki, Untitled VI, 90 Silva, Nikki, Untitled XI, 91 D\u27elia, Olivia, Sydney Harbour Bridge, 92 D\u27elia, Olivia, Downtown Sydney, 93 D\u27elia, Olivia, Watson\u27s Bay, Sydney, Australia, 93 Contributors\u27 Notes, 203 Meeting the Editors, 20

Composing with Frames and Spaces: Cinematic Virtual Reality as an Audiovisual Compositional Practice

This project offers a creative investigation into the medium of Cinematic Virtual Reality, identifying the distinguishing characteristics of the medium as they relate to the technical, thematic and aesthetic language the creative has access to. Drawing primarily on CVR as a cinematic construct, this investigation focuses on two key concepts that differentiate CVR from fixed frame media: frames (the window in which the virtual world is composed and navigated by the viewer) and spaces (the relationship between the viewer and the surrounding virtual environment). The creative portfolio explores many different possible implementations of creative thought in CVR, bringing the world of contemporary electronic and electroacoustic music into the audiovisual medium of CVR. The ideas of frames and spaces are used to structure a discussion of the creative portfolio, allowing this PhD to document the act of composing audiovisual works in CVR that are conceived from the unique communicative properties of the media

The Relationship Between Adverse Childhood Experiences with Men\u27s Lifetime Use of Physical Intimate Partner Violence

A national study on mental health asked men in a marriage-like relationship about their own use of physical aggression during their lifetime with the women in their life while dating and their current relationship). This study included questions on exposure to adverse childhood experiences (ACE). Access to those items provided a unique opportunity to examine the role of ACE and men’s self-reported lifetime use intimate partner violence (IPV). A hierarchical analysis using 15 variables in three categories of ACE (family-of-origin violence, impaired parenting, individual adversities) identified predictors within each category associated with IPV use. When the variables in the family-of-origin category were tested as a stand-alone model it was not associated with IPV use. However, by combining variables in this category with the variables in the impaired parenting category, a significant model was identified. Importantly, this result was inconsistent with power and control IPV theory. Rather, the present study’s results supported polyvictimization theory: exposure to multiple forms of ACE can result in more severe symptomology Adding the category individual adversities to the model also resulted in a significant model. While that addition did not result in a meaningful change in the pseudo R2, it did add to the research by identifying new forms of ACE that were associated with IPV. Looking at lifetime IPV use supported previous research results’ implications that there are two types of IPV: power and control IPV and situational couple IPV. The present study’s findings support prior researchers’ recommendations to expand the IPV offender education program curriculum for men. This study’s results, along with prior research, supports the inclusion of material on emotional escalation, polyvictimization, and the allostatic model in the curriculum