Nantas

Émile Zola'nın Mektep'te yayımlanan Nantas adlı romanının ilk ve son tefrikalar

Nefs-i emmare

Émile Zola'nın Vakit'te yayımlanan Nefs-i Emmare adlı romanının ilk ve son tefrikalar

Para

Émile Zola'nın Tanin'de yayımlanan Para adlı romanının ilk ve son tefrikalarıTefrikanın devamına rastlanmamış, tefrika yarım kalmıştır

Trabajo

Copia digital. Valladolid : Junta de Castilla y León. Consejería de Cultura y Turismo, 201

Science, performance and transformation: performance for a ‘scientific’ age?

This is an accepted manuscript of an article published by Taylor & Francis in International Journal of Performance Arts and Digital Media on 30/09/2014, available online: https://www.tandfonline.com/doi/full/10.1080/14794713.2014.946282 The accepted version of the publication may differ from the final published version.The ‘two cultures’ of science and the arts/humanities are often considered at odds, but digital technology, and the broader implications of digital culture, provides a model for more productive forms of exchange and hybridity. This article applies theories of intercultural theatre practice to performance that works across this cultural divide to explore the types of interaction that take place. Following a historical discussion of the science/art divide, a three-fold model is proposed and explored through case studies including Djerassi and Laszlo's 2003 NO, Eduardo Kac's 1999 Genesis, Reckless Sleepers' 1996/2006 Schrödinger's Box, and John Barrow's 2002 Infinities. It is argued that science operates through the creation of mathematical models of aspects of the physical world, whilst art similarly constructs different kinds of models for understanding the social/cultural and occasionally physical world. Digital technology expands the modelling possibilities both directly, through simulation, virtual reality and integration into ‘live’ activities of augmented and intermedia performance, and through the transformative nature of digital culture

The Stuttering Poet: A Deleuzian Reading of a Laforguian Poetics

This article explores the complex relationship between the yankee, the Impressionist and the minoritarian in Laforgue's work and suggests that Deleuze's notions of the minor and of stuttering, and his analysis of the characteristics of Anglo-American writing, are particularly pertinent to our understanding of Laforgue's poetics. There is a nineteenth-century context for the minor, but there is a danger that we capitulate to a ‘majoritarian’ criticism if we too quickly espouse lines of filiation. The article constructs an account of Laforgue's developing perception of, and relationship with, verse prosody by examining how he scumbles the outlines and activity of syllables, how he pushes line-structure into a terrain vague, how he re-orientates accent towards the qualitative and tunes the acoustic to Hartmann's Unconscious. His uses of the imperative and infinitive, and their associated punctuations, are related to his responses to Impressionism. The argument ends with reflections on Deleuzian becoming in Laforgue