Alterity

Aristotle once said that “the aim of art is to represent not the outward appearance of things, but their inward significance”. To me this means that we do not create art in order to show the objects or subject matter as is, but instead to show what the subject matter means to us or how we interpret it. The work that I create isn’t necessarily representational. Instead it takes a more abstract form of the object that I’m trying to interpret. When it comes to making my work, I enjoy exploring the use of line and value so the image demonstrates a more three-dimensional look. Different textures, cross hatching, exploration of patterns are all important to me. I am very interested in psychology, which was my minor. The theme of my more current art is exploring psychological disorders and phobias. I am drawn to this because I want to make people more aware about these disorders. When it comes to my art making I don’t really have any artists who inspires my work. My work which is primarily abstract/ non-objective art, comes mainly from the things that interest me. Again relating back to the theme of my show which is psychological disorders/phobias. This is something that really is important to me and makes me want to make art. Not only was it my minor, but it is also the career path I hope to pursue later in life. Assisting individuals through art therapy, is the career path of my choice. I believe that art can be something that can help others heal and gives others a voice that they may not necessarily have on their own. I want to use art, and help other people create art in order to heal themselves.https://digitalcommons.murraystate.edu/art499/1006/thumbnail.jp

Looking Back on SNAP

In this presentation, I reflect on the founding of the Society of American Archivists\u27 Students and New Archives Professionals (SNAP) Roundtable and discuss challenges facing groups for new professionals

Rebecca Goldman Art Work

Aristotle once said that “the aim of art is to represent not the outward appearance of things, but their inward significance”. To me this means that we do not create art in order to show the objects or subject matter as is, but instead to show what the subject matter means to us or how we interpret it. The work that I create isn’t necessarily representational. Instead it takes a more abstract form of the object that I’m trying to interpret. Color explored in painting is another way to express emotions and a sense of feeling. Using a variety of colors to create previously unknown to me colors on the canvas. Important to me are the different effects paint can have. I also explore the use of line and value in my work so the image demonstrates a more three-dimensional look. Different textures, cross hatching, exploration of patterns are all important to me. I am very interested in psychology. I wish to continue exploring surrealism. One aspect of the surrealist movement that I am interested in is dream analysis. Some surrealist artist that I enjoy/ admire are Salvador Dali, Frida Kahlo, René Magritte. Assisting individuals through art therapy, is the career path of my choice. I believe that art can be something that can help others heal and gives others a voice that they may not necessarily have on their own. I want to use art, and help other people create art in order to heal themselves

Traumatized Characters in Traumatized Environments: A Look at Repression and Horror

Using Sigmund Freud’s theory of ‘return of the repressed’ as a theoretical basis, this paper takes a case study approach using three critically acclaimed horror films. These films include Nicholas Roeg’s Don’t Look Now (1974), Stanley Kubrick’s The Shining (1980), and Ari Aster’s Midsommar (2019). With use of each film, the interaction between the repressed trauma of the protagonists’ and the film environment is explored, utilizing the notion that repressed trauma will always manifest itself as a symptom of the unconscious mind. Supporting theories include Slavoj Zizek’s notion that dreams must be read in terms of their form, stemming from Freud’s theory of dreams as the most direct route to unconscious material, which is used in relation to the dreams of both the protagonist in The Shining and Midsommar. Zizek’s “The Truth Arises from Misrecognition” also plays a large role in understanding the interactions between characters and environment within the filmscape. Finally, Robin Wood’s notion of basic and surplus repression in regard to the horror film exemplifies the importance of particular environments both in the formation of repressed trauma and the processing of it. The findings of this paper demonstrate that the horror film environment is particularly conducive to expressing the manifestations of repressed trauma and highlights the implications of repressive Westernized societies that encourage unhealthy manifestations of trauma rather than productive ones

Sea Change: A Community Approach to Archives Internships

This marine-themed talk provides recommendations for archivists to improve internships in their local community, including specific recommendations for Philadelphia

Interview of Margot Soven, Ph.D.

Dr. Margot Iris Soven was born in the early 1940s on the Lower East Side of Manhattan. She spent her early life in New York City, attending public schools in Manhattan and Brooklyn. She received her bachelor’s in English from Brooklyn College. After college, she married her husband, Paul, and moved with him to Chicago, where she taught at a high school while earning her master’s in English at DePaul University. She enrolled in an English literature PhD program at Rutgers while living in New Jersey and completed a PhD in rhetoric at the University of Pennsylvania after moving to Philadelphia. In 1980, Margot joined La Salle’s English department, where she currently holds the rank of Professor. In addition to her teaching, she has held several administrative positions at La Salle, including Director of the Core Curriculum and the First Year Odyssey Program (2000-present), Director of the Writing Tutors Program (1985- 2000), Director of Writing Across the Curriculum (1982-1995), and Director of Composition (1980-1995). Margot currently lives with her husband in the Philadelphia suburbs and has three grown children and four grandchildren