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Journal articles on the topic 'Chinese women artists'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Fong, Mary H., Marsha Weidner, Ellen Johnston Laing, Irving Yucheng Lo, Patricia Fister, and Lucy Lim. "Views from Jade Terrace: Chinese Women Artists 1300-1912." Woman's Art Journal 17, no. 1 (1996): 41. http://dx.doi.org/10.2307/1358528.

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2

Furmanik-Kowalska, Magdalena. "Which tradition is mine? Chinese women artists and cultural identity." Journal of Contemporary Chinese Art 6, no. 2 (2019): 305–19. http://dx.doi.org/10.1386/jcca_00009_1.

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Abstract References to native culture are frequently in the foreground of works by Chinese women artists. When they make contact with different cultures, although not necessarily connected with leaving their place of birth thanks to the transfer of information and cultural heritage that has developed extremely efficiently in the era of globalization (Gordon Mathews), they see their own entanglement in the cultural tradition. In the process of constructing their identity they try to find answers to the following question: which part of the cultural tradition is mine? Which one do I identify wit

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Merlin, Monica. "Cao Fei: Rethinking the global/local discourse." Journal of Contemporary Chinese Art 5, no. 1 (2018): 41–60. http://dx.doi.org/10.1386/jcca.5.1.41_1.

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Cao Fei (b. 1978) was born and raised in the southern Chinese city of Guangzhou by the Pearl River Delta (PRD), ‘the factory of the world’, as the artist defined it. Working with multimedia, primarily video, photography and machinima, her practice engages with popular culture, regional trends and globalized fashions. With an early official participation at the China Pavilion of the Venice Biennale in 2007, Cao Fei is one of the most renowned Chinese artists of the post-Cultural Revolution ‘new new human beings’ (xinxin renlei), and one of the few women artists from the People’s Republic of Chi

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Edwards, Louise. "Drawing Sexual Violence in Wartime China: Anti-Japanese Propaganda Cartoons." Journal of Asian Studies 72, no. 3 (2013): 563–86. http://dx.doi.org/10.1017/s0021911813000521.

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During the War of Resistance against Japan (1937–45), China's leading cartoon artists formed patriotic associations aimed at repelling the Japanese military. Their stated propaganda goals were to boost morale among the troops and the civilian population by circulating artwork that would ignite the spirit of resistance among Chinese audiences. In keeping with the genre, racialized and sexualized imagery abounded. The artists created myriad disturbing visions of how militarized violence impacted men's and women's bodies differently. By analyzing the two major professional journals, National Salv

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Blanchard, Lara C. W. "Defining a Female Subjectivity." positions: asia critique 28, no. 1 (2020): 177–205. http://dx.doi.org/10.1215/10679847-7913106.

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Cui Xiuwen (b. 1970) and Yu Hong (b. 1966) are contemporary Chinese artists whose images of women reflect a complicated gendered perspective. This article focuses on Cui’s Ladies’ Room (2000) and Yu’s Female Writer (2004, from the series She). Both can be construed as feminist reinterpretations of Chinese works of the imperial era that represented idealized female figures from a male perspective. Ladies’ Room, a video that shows behind-the-scenes images of sex workers in a nightclub washroom, brings to mind earlier paintings that depict women in feminine space. Ladies’ Room, however, incorpora

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Maggio, Meg. "Six Contemporary Chinese Women Artists. By Lucy Lim. [San Francisco: Chinese Culture Foundation of San Francisco, 1991. 102 pp.]." China Quarterly 137 (March 1994): 286–87. http://dx.doi.org/10.1017/s0305741000034627.

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Yongbai, Tao. "Off the Margins." positions: asia critique 28, no. 1 (2020): 65–86. http://dx.doi.org/10.1215/10679847-7913054.

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This article offers a chronological survey of the development of women’s art in China between 1990 and 2010. Outlining the historical circumstances that first resulted in the dearth of a female consciousness in Chinese art until the end of the twentieth century, this article touches on the divergent roots of the women’s liberation movement and western feminism, the Maoist era’s negation of femininity, and the lingering patriarchal structure of art institutions. It was only after a series of groundbreaking exhibitions exploring the female psyche in the 1990s that women artists found a space to

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Belova, Darya Nikolaevna. "Female Images in Chinese and Japanese painting." Культура и искусство, no. 5 (May 2021): 114–38. http://dx.doi.org/10.7256/2454-0625.2021.5.35526.

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This article analyzes female images in Chinese and Japanese painting (Bijin-ga). The subject of this research is the depiction of Chinese beautiful women on the scrolls of the X &ndash; XVII centuries and Japanese woodblock printing of the XVII &ndash; XIX centuries. Attention is given to the works of modern artists. It is noted that the aesthetic ideals are oriented towards the perception of beauty in the context of national culture of China and Japan, which undergo changes in each era, nurtured by Buddhism, Shintoism, Taoism and Confucianism, which contributed to the development of f

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Brower, Matthew. "Photography, Curation, Affect." Journal of Visual Culture 17, no. 2 (2018): 177–97. http://dx.doi.org/10.1177/1470412918782354.

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This article explores the implications of photographic affect for curatorial practice by examining the exhibition Through The Body: Lens-Based Work by Contemporary Chinese Women Artists (Art Museum at University of Toronto, 2014). The author focuses on the curatorial task of situating the work of three of the artists, Chen Zhe, Fan Xi and Chun Hua Catherine Dong that employs affect in related but potentially incompatible ways. Chen’s visceral series The Bearable documents her practices of cutting as an attempt to overcome shame and begin healing. Fan’s portraits of topless Chinese lesbians use

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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.

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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phe

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Edwards, Louise. "Animals and Beauties: Zoomorphic Inscriptions of a Modern Gender Hierarchy." NAN NÜ 22, no. 2 (2020): 265–312. http://dx.doi.org/10.1163/15685268-02220002.

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Abstract At the turn of the nineteenth and twentieth centuries, along with myriad other foundational changes taking place in China, attitudes to the role and significance of women and animals were also changing. This evolution is apparent in the artistic realm where both had featured in imperial-era Chinese art for centuries and continued to appear in the new Republic after 1911. This article examines animals and their paired depiction with women within one genre of art – the Baimei tu (One hundred beauties) – as it evolved from the late 1800s until the end of the 1910s. An examination of the

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Yu, Hong. "The Ambiguity in Turandot: An Orientalist Perspective." English Language and Literature Studies 8, no. 1 (2018): 114. http://dx.doi.org/10.5539/ells.v8n1p114.

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The paper analyzes the Orientalization of the characters in Puccini’s seminal opera Turandot to prove that the Europeans’ perception formation of Asians is a process of “Orientalizing the Orient”. Two heroines, Turandot and Liu, suit the two polar extremes of the Asian women stereotypes in the West, dragon lady and Butterfly. Imperious and malicious Turandot and submissive and self-sacrificing Liu are simplified and generalized representations made by Europeans to meet their imaginations. Furthermore, Turandot and Calaf represent the national stereotypes of China and the West respectively. The

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Bittner, Wiseman. "Contemporary Chinese art: Mao's legacy and Danto's definition." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 191–200. http://dx.doi.org/10.5937/saj1502191b.

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In this paper I am going to do three things: First, identify several themes in contemporary Chinese art that show its essentially social nature and its robust materialism. Second, suggest a way that contemporary art in China is post-modern in the way that Western art is and claim, moreover, that as different as the themes and recent history of this art are from contemporary Western art, the works satisfy a definition of art constructed by Arthur Danto. Finally, in a coda, I present the work of a woman artist that is unlike most recent Chinese and Western art. It positions itself at the far rea

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Welland, Sasha Su-Ling. "Camouflaged Histories." positions: asia critique 28, no. 1 (2020): 87–119. http://dx.doi.org/10.1215/10679847-7913067.

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Lei Yan 雷燕, whose artistic practice was shaped by a decades-long career in the Chinese military, began a period of transition through participation in a 2002 restaging of the Communist Red Army’s 1934 Long March as a multi-sited international art project. Her resulting encounter with US feminist art icon Judy Chicago raised questions about the potential neocolonial influence of global feminist art. The work Lei subsequently produced performs an autoethnographic excavation of the sociohistorical categories—woman soldier, military artist, and woman artist—that made her as both artist and woman.

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Li, Yang. "Flute archetypes of sounds in Chinese Tang era poetry." Музикознавча думка Дніпропетровщини, no. 18 (November 13, 2020): 93–104. http://dx.doi.org/10.33287/222020.

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Tang epoch trains (618–907) – an important source of judgments about expressive possibilities and sound archetypes of the Chinese flute, preserved in the music of the Celestial Empire composers of the XX – XXI centuries. The purpose of this investigation is to establish sound archetypes of the flute in the Chinese poetry of the Tang epoch. The methods of investigation are historical, semantic, genre and comparative approaches. The scientific novelty of the study is to introduce the concept of «flute poetry» of the Tang era into the musicology context, to establish its characteristic properties

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Mitterauer, Michael. "Shroud and Portrait of a Medieval Ruler." Balkanistic Forum 29, no. 3 (2020): 197–223. http://dx.doi.org/10.37708/bf.swu.v29i3.10.

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The research is concerning two unusual evidences of the late Medieval art, which could be seen in the Museum of the cathedral St. Stephan in Vienna. Both of them are related to Herzog Rudolf IV of Austria (1358 - 1365). One artefact in the museum is his silk gold woven shroud elaborated with especial mastership from Chinese silk in Tabriz, a city in present Iran. Especially important for this fabric is that thanks to the interwoven name of the ruler it could be dated precisely. The road of this Near East fabric to Europe and to the tomb of the Herzog in Vienna could be reconstructed. Rudolf IV

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Antić Gaber, Milica, and Marko Krevs. "Many Faces of Migrations." Ars & Humanitas 7, no. 2 (2013): 7–16. http://dx.doi.org/10.4312/ah.7.2.7-16.

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Temporary or permanent, local or international, voluntary or forced, legal or illegal, registered or unregistered migrations of individuals, whole communities or individual groups are an important factor in constructing and modifying (modern) societies. The extent of international migrations is truly immense. At the time of the preparation of this publication more than 200 million people have been involved in migrations in a single year according to the United Nations. Furthermore, three times more wish to migrate, mostly from sub-Saharan Africa towards some of the most economically developed

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Antić Gaber, Milica, and Marko Krevs. "Many Faces of Migrations." Ars & Humanitas 7, no. 2 (2013): 7–16. http://dx.doi.org/10.4312/ars.7.2.7-16.

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Temporary or permanent, local or international, voluntary or forced, legal or illegal, registered or unregistered migrations of individuals, whole communities or individual groups are an important factor in constructing and modifying (modern) societies. The extent of international migrations is truly immense. At the time of the preparation of this publication more than 200 million people have been involved in migrations in a single year according to the United Nations. Furthermore, three times more wish to migrate, mostly from sub-Saharan Africa towards some of the most economically developed

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Triyanto, Triyanto, Nur Rokhmat, Mujiyono Mujiyono, and Eko Sugiarto. "Brebes Buroq: The Art Expression of Coastal Javanese Moslem Society." KOMUNITAS: International Journal of Indonesian Society and Culture 8, no. 1 (2016): 94–101. http://dx.doi.org/10.15294/komunitas.v8i1.5266.

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The art of Buraq is a procession of puppet which has beautiful female face with winged-horse body and dance to the music of Genjring and tambourine. This traditional art is one of the dominant arts that becomes one cultural identity of the people in Brebes District, located in the west of the northern coast of Java island, Central Java Province. This study aims to study the aesthetic form, function and symbolic values of Buroq, as well as the system of relationship patterns among actors, Buroq puppets, and the audience. The result of the research shows that the rise of Buroq art stems from the

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Cruz, José Henrique de Araújo, Lindoaldo Xavier Sousa, Bruno Firmino de Oliveira, Francisco Patrício de Andrade Júnior, Maria Angélica Satyro Gomes Alves, and Abrahão Alves de Oliveira Filho. "Disfunção temporomandibular: revisão sistematizada." ARCHIVES OF HEALTH INVESTIGATION 9, no. 6 (2020): 570–75. http://dx.doi.org/10.21270/archi.v9i6.3011.

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Introdução: Disfunção Temporomandibular (DTM) é o termo para designar um quadro de desorganização neuromuscular identificada pela presença de cefaleias crônicas, sons na articulação temporomandibular, restrições dos movimentos mandibulares, hiperestesia e dor nos músculos da mastigação, da cabeça e do pescoço. Objetivo: realizar uma revisão de literatura sobre a DTM. Material e Método: foi feita uma seleção de artigos científicos a partir das bases de dados LILACS e SCIELO utilizando os descritores “Articulação Temporomandibular”, “Transtornos da Articulação Temporomandibular” e “Dor Facial”,

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Leng Teo, Phyllis Hwee. "Alternative Agency in Representation by Contemporary Chinese Women Artists." Asian Culture and History 2, no. 1 (2010). http://dx.doi.org/10.5539/ach.v2n1p3.

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22

"Views from jade terrace: Chinese women artists, 1300-1912." Choice Reviews Online 26, no. 07 (1989): 26–3691. http://dx.doi.org/10.5860/choice.26-3691.

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23

Zhou Xiaoqin and Haji Baharudin bin Haji Mohd Arus. "WOMEN ARTISTS OF THE LATE 19TH CENTURY: CONTINUITY AND CHANGE AT THE SUNSET OF IMPERIAL CHINA." Jurnal Gendang Alam (GA), June 30, 2021. http://dx.doi.org/10.51200/ga.vi.3294.

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Increasing attention to the history of Chinese women artists gives further impetus to re-evaluation of their artistic contribution. Here I focus on developments in women’s art in the later part of the 19th century, entering into an interrogation of the assumption that the century had witnessed its decline in tandem with the decline of the Imperial China itself. A focus of the article is the 2017 Zhejiang exhibition, which has served to further intensify the imperative for research. Adopting a perspective based on gender and class, this paper examines the work of the female Chinese artists of t

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HAKIM, Hassen, Frédéric PUEL, Nicolas FORESTIER, and William BERTUCCI. "Circus Student-Artists Anthropometric characterization; Preliminary study." Journal of Physical Health and Sports Medicine, December 19, 2018, 16–22. http://dx.doi.org/10.36811/jphsm.2019.110002.

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Abstract: The purpose of our study was to establish a circus student-artist anthropometric characterization allowing for their classification among the different activities or sports discipline and to know if they present specific morphological adaptations due to their practices. Methods: Thirty healthy adults (13 women and 17 men, 22.5±2 years, 170.1±6.4 cm, 64.5±7.5 kg) participated voluntarily in this study. These student-artists were divided into two groups: 15 aerials (dangling trapeze, stated trapeze, outfielders, Chinese mast, aerial fabrics, aerial webbing, smooth rope, and flying rope

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Pandanwangi, Ariesa, and Nuning Damayanti. "VISUALISASI PEREMPUAN PADA LUKISAN TRADISIONAL TIONGHOA DI INDONESIA (Analisis karya-karya seni lukis Lee Man Fong dan Chiang Yu Tie)." Panggung 27, no. 2 (2017). http://dx.doi.org/10.26742/panggung.v27i2.254.

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ABSTRACT Both Lee Man Fong - a male painter - and Chiang Yu Tie - a female painter - are Chinese who migrated to Indonesia. In the beginning of the 20th century, Lee Man Fong lived in Bali while Chiang Yu Tie lived in Java. Many of their artworks were collected by the National Palace and many government officers. The questions of this research are visualization of the women as the object of paintings of both artists and gesture of the women in the paintings of both artists. The purpose of the research is to enrich the documentary infrastructure about women as object in the social area of visua

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Xia, Shilin, and Tianen Chen. "Attribution of Responsibility for Pick Up Artist Issues in China: The Impacts of Journalist Gender, Geographical Location, and Publication Range." Journal of Communication Inquiry, August 23, 2021, 019685992110411. http://dx.doi.org/10.1177/01968599211041118.

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Pick-up artists (PUAs) apply strategies from evolutionary psychology to exploit women emotionally, sexually, and financially. In China, PUA issues have been garnering attention from journalists and news media. However, scholars have yet to explore how such issues have been portrayed in Chinese online news media, in particular the attribution of responsibility. The current study content-analyzed 115 Chinese online news articles related to PUA issues to explore whom the responsibility for causing and solving the issue is attributed, and investigated the influence of journalist gender, geographic

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Na, Ali. "The Stuplime Loops of Becoming-Slug: A Prosthetic Intervention in Orientalist Animality." M/C Journal 22, no. 5 (2019). http://dx.doi.org/10.5204/mcj.1597.

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What are the possibilities of a body? This is a question that is answered best by thinking prosthetically. After all, the possibilities of a body extend beyond flesh and bone. Asked another way, one might query: what are the affective capacities of bodies—animal or otherwise? Philosophers Gilles Deleuze and Félix Guattari focus on affectivity as capacity, on what the body does or can do; thinking through Baruch Spinoza’s writing on the body, they state, “we know nothing about a body until we know what it can do, in other words, what its affects are, how they can or cannot enter into compositio

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Liu, Runchao. "Object-Oriented Diaspora Sensibilities, Disidentification, and Ghostly Performance." M/C Journal 23, no. 5 (2020). http://dx.doi.org/10.5204/mcj.1685.

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Neither mere flesh nor mere thing, the yellow woman, straddling the person-thing divide, applies tremendous pressures on politically treasured notions of agency, feminist enfleshment, and human ontology. — Anne Anlin Cheng, OrnamentalismIn this (apparently) very versatile piece of clothing, she [Michelle Zauner] smokes, sings karaoke, rides motorcycles, plays a killer guitar solo … and much more. Is there anything you can’t do in a hanbok?— Li-Wei Chu, commentary, From the Intercom IntroductionAnne Anlin Cheng describes the anomaly of being “the yellow woman”, women of Asian descent in Western

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West, Patrick Leslie, and Cher Coad. "Drawing the Line: Chinese Calligraphy, Cultural Materialisms and the "Remixing of Remix"." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.675.

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Western notions of authors’ Intellectual Property Rights (IPRs), as expressed within copyright law, maintain a potentially fraught relationship with a range of philosophical and theoretical positions on writing and authorship that have developed within contemporary Western thinking. For Roland Barthes, authorship is compromised, de-identified and multiplied by the very nature of writing: ‘Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing’ (142). Gilles Deleuze and Félix Gu

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Raney, Vanessa. "Where Ordinary Activities Lead to War." M/C Journal 9, no. 3 (2006). http://dx.doi.org/10.5204/mcj.2626.

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   “The cop in our head represses us better than any police force. Through generations of conditioning, the system has created people who have a very hard time coming together to create resistance.” – Seth Tobocman, War in the Neighborhood (1999)   Even when creators of autobiographically-based comics claim to depict real events, their works nonetheless inspire confrontations as a result of ideological contestations which position them, on the one hand, as popular culture, and, on the other hand, as potentially subversive material for adults. In Seth Tobocma

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Cuningham, Phillip Lamarr, and Melinda Lewis. "“Taking This from This and That from That”: Examining RZA and Quentin Tarantino’s Use of Pastiche." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.669.

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In his directorial debut, The Man with the Iron Fists (2012), RZA not only evokes the textual borrowing techniques he has utilised as a hip-hop producer, but also reflects the influence of filmmaker Quentin Tarantino, who has built a career upon acknowledging mainstream and cult film histories through mise-en-scene, editing, and deft characterisation. The Man with the Iron Fists was originally to coincide with Tarantino’s rebel slave narrative Django Unchained (2012), which Tarantino has discussed openly as commentary regarding race in contemporary America. In 2011, Variety reported that RZA h

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Newman, Felicity. ""You Have a Basket for the Bread, Just Put the Bloody Chicken in It"." M/C Journal 2, no. 7 (1999). http://dx.doi.org/10.5204/mcj.1793.

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We'd eat at Cahill's, Cahill's Family Restaurants I believe they were called, and quite plushy looking ... . At Cahill's we'd eat Viennese Schnitzel, with potato salad and some nice red cabbage salad, sort of pickled ... . Even more exotic was Chicken Maryland, served with a banana and a slice of pineapple in batter. It cost 7s 6d. -- Marion Halligan (11) We migrated in the sixties. Born in Cape Town, I was raised in the heart of Jewish Bondi. The flavours of my youth? Probably equal parts peri-peri, horseradish and chicken booster, not bouquet garni. My introduction to what was 'Australian' f

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McGillivray, Glen. "Nature Transformed: English Landscape Gardens and Theatrum Mundi." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1146.

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IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas an

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Flynn, Bernadette. "Towards an Aesthetics of Navigation." M/C Journal 3, no. 5 (2000). http://dx.doi.org/10.5204/mcj.1875.

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Introduction Explorations of the multimedia game format within cultural studies have been broadly approached from two perspectives: one -- the impact of technologies on user interaction particularly with regard to social implications, and the other -- human computer interactions within the framework of cybercultures. Another approach to understanding or speaking about games within cultural studies is to focus on the game experience as cultural practice -- as an activity or an event. In this article I wish to initiate an exploration of the aesthetics of player space as a distinctive element of

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Walker, Ruth. "Double Quote Unquote: Scholarly Attribution as (a) Speculative Play in the Remix Academy." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.689.

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Many years ago, while studying in Paris as a novice postgraduate, I was invited to accompany a friend to a seminar with Jacques Derrida. I leapt at the chance even though I was only just learning French. Although I tried hard to follow the discussion, the extent of my participation was probably signing the attendance sheet. Afterwards, caught up on the edges of a small crowd of acolytes in the foyer as we waited out a sudden rainstorm, Derrida turned to me and charmingly complimented me on my forethought in predicting rain, pointing to my umbrella. Flustered, I garbled something in broken Fren

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Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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   From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha

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Lerner, Miriam Nathan. "Narrative Function of Deafness and Deaf Characters in Film." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.260.

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Introduction Films with deaf characters often do not focus on the condition of deafness at all. Rather, the characters seem to satisfy a role in the story that either furthers the plot or the audience’s understanding of other hearing characters. The deaf characters can be symbolic, for example as a metaphor for isolation representative of ‘those without a voice’ in a society. The deaf characters’ misunderstanding of auditory cues can lead to comic circumstances, and their knowledge can save them in the case of perilous ones. Sign language, because of its unique linguistic properties and its la

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Florescu, Catalina. "Ars Moriendi, the Erotic Self and AIDS." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.50.

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To Rodica, who died first / To Mircea, who continues me [I]In his book Picturing Health and Illness: Images of Identity and Difference, Sander L. Gilman argues that during the nineteenth century the healthy norm perceived as ugly not only those who were deformed, but also those who were ill, ageing, and/or experienced different bodily “loss of function” (53). In the nineteenth century, how much was medicine responsible for defining ugly as ill, deformed, and getting old, versus beautiful as healthy, and then, for the sake of the community’s health, firmly promoting these ideas? Furthermore, wi

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Neilsen Glenn, Lorri. "The Loseable World: Resonance, Creativity, and Resilience." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.600.

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[Editors’ note: this lyric essay was presented as the keynote address at Edith Cowan University’s CREATEC symposium on the theme Catastrophe and Creativity in November 2012, and represents excerpts from the author’s publication Threading Light: Explorations in Loss and Poetry. Regina, SK: Hagios Press, 2011. Reproduced with the author’s permission].Essay and verse and anecdote are the ways I have chosen to apprentice myself to loss, grief, faith, memory, and the stories we use to tie and untie them. Cat’s cradle, Celtic lines, bends and hitches are familiar: however, when I write about loss, I

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