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Journal articles on the topic 'Deuil – Photographie'

Author: Grafiati

Published: 22 June 2024

Last updated: 31 July 2025

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1

De Gournay, Chantal. "Le deuil de l'image. De la photographie à l'image virtuelle." Réseaux 11, no. 61 (1993): 125–32. http://dx.doi.org/10.3406/reso.1993.2408.

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2

Ziolko, Caroline. "Le photographique mémoriel." Articles 23, no. 1 (2011): 33–39. http://dx.doi.org/10.7202/1004020ar.

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Des médaillons de porcelaine, fabriqués dès les années 1850, aux plaques funéraires, aujourd’hui gravées au laser, la plastique de la photo funéraire évolue dans son propos sur la représentation commémorative du corps. Ce sujet trop rarement abordé est ici considéré en termes d’image et d’imaginaire et de propos mémoriel. En effet, la photographie funéraire ne médiatise pas seulement le portrait du défunt, sa plastique renseigne indirectement sur l’image retenue par les proches pour faire leur deuil d’un défunt selon une esthétique et des codes partagés par la famille, les amis, concitoyens et

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3

Létourneau, Sophie. "Roland Barthes enquête : La chambre claire ou la mélancolie policière." Études littéraires 42, no. 2 (2012): 69–79. http://dx.doi.org/10.7202/1011521ar.

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Résumé Quand Roland Barthes entreprend le manuscrit de La chambre claire le 15 avril 1979, il s’efforçait de résoudre trois problèmes qui l’occupaient depuis quelques années : 1) problème esthétique : qu’est-ce que la photographie représente ? 2) problème poétique : comment passer à l’écriture romanesque ? et 3) problème éthique : comment rendre hommage à sa mère dont il était toujours en deuil ? Le propos de cet article est de montrer que Roland Barthes a trouvé dans le roman policier, dans ses codes narratifs et sa temporalité, une solution (ne serait-ce que formelle) à ces trois obsessions.

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Rojas-Urrego, Alejandro. "La hantise de l’oubli." Le présent de la psychanalyse N° 11, no. 1 (2023): 79–98. http://dx.doi.org/10.3917/lpp.241.0079.

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De l’œuvre photographique Campo Santo de Juan Fernando Herrán, au livre Les Disparus de Daniel Mendelsohn, la question de la disparition suscite une réflexion profonde. Pour les mères des disparus, le deuil est impossible : on ne peut pas faire le deuil d’un disparu. L’objet est disparu ; l’objet n’a pas été encore perdu ; la mélancolie n’est pas encore là ; la réapparition reste toujours possible ; le travail du deuil n’a pas d’objet. Dans la disparition dont il est ici question, il manque le verdict implacable que la réalité apporte sur un objet anéanti, verdict que Freud considère essentiel

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5

Balint-Babos, Adina. "Imaginer, monter : la mémoire inachevée d’Auschwitz selon Georges Didi-Huberman." Voix Plurielles 11, no. 2 (2014): 20–31. http://dx.doi.org/10.26522/vp.v11i2.1097.

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Écorces de Georges Didi-Huberman est le « récit-photo » d’une déambulation à Auschwitz-Birkenau en juin 2010. Il y interroge quelques lambeaux du présent qu’il fallait photographier pour voir ce qui survit de la mémoire d’Auschwitz, ce qui pourrait mettre en œuvre le désir de ne pas en rester au deuil crispé du lieu. Cet article explore l’inachevé comme métaphore de l’écorce : d’une part, un morceau d’arbre, un « bout de texte », un fragment ; et d’autre part, une image, une surface pelliculaire qui ne couvre pas, mais se détache d’un corps. Qu’est-ce qu’on peut attendre d’une photo d’un morce

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6

Chin, A., C. Rigby, A. Short, and W. T. White. "Verified records of Kuhl’s devil ray (Mobula kuhlii) in the Solomon Islands from citizen scientists." Pacific Conservation Biology 26, no. 1 (2020): 100. http://dx.doi.org/10.1071/pc18088.

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Citizen science provides valuable information about species distributions. The Shark Search Indo-Pacific project received photographs of devil rays (Mobula spp.) from the Solomon Islands that were identified as Kuhl’s devil ray (Mobula kuhlii). These records represent new knowledge about the range and distribution of a poorly known species in an undersampled region.

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Hardcastle, John. "‘Photographers are the devil’: an essay in the historiography of photographing schools." History of Education 42, no. 5 (2013): 659–74. http://dx.doi.org/10.1080/0046760x.2013.816880.

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8

Gilbert, Francis. "The Time Devil runs amok." Writing in Practice 7 (January 28, 2022): 123–36. https://doi.org/10.62959/wip-07-2023-10.

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This research illustrates how teacher-writers can improve their craft and pedagogy by writing for a specific audience, namely school children. It also illustrates why they might do so. It interrogates what was learnt from an innovative collaboration between a university teacher-education department, an inner-city secondary school and the United Kingdom’s National Maritime Museum (NMM). Multimodality (Barnard 2019) inspired the project: local spaces, institutional settings, historical objects, photographs, pictures, time-travelling films and narratives motivated the teacher-writer and participa

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9

Mas, F., R. Forselledo, and A. Domingo. "Mobulid ray by-catch in longline fisheries in the south-western Atlantic Ocean." Marine and Freshwater Research 66, no. 9 (2015): 767. http://dx.doi.org/10.1071/mf14180.

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This paper presents the first by-catch assessment focussed on mobulid rays in pelagic longline fisheries based on on-board scientific observer data (1998–2013) over the south-western Atlantic. Mobulid diversity, as well as their catch distribution and disposition, were investigated. Mobulid by-catch frequency was low, but by-catch probability increased at lower bottom depths (i.e. continental shelf and slope), higher fishing effort and during the warm period (summer–autumn). Photographic and video records allowed the identification of two devil ray species, the spinetail devil ray (Mobula japa

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10

Ermolin, Evgeniy, Hernán De Angelis, and Pedro Skvarca. "Mapping of permafrost on Vega Island, Antarctic Peninsula, using satellite images and aerial photography." Annals of Glaciology 34 (2002): 184–88. http://dx.doi.org/10.3189/172756402781817824.

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AbstractThe work presented deals with detailed mapping of permafrost in Devil Bay, Vega Island, northeastern Antarctic Peninsula. Mapping of landforms and permafrost features within a periglacial plain was performed using high resolution visible satellite images and aerial photography. Two maps of permafrost were produced: one based on analysis and interpretation of visible satellite imagery and another on low-altitude aerial photography, both yielding similar results. The principles of morphogenesis were applied to map production, distinguishing both the syncryogenic and epicryogenic formatio

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Sari, Anindya Ratna, Ida Bagus Candrayana, and Farhan Adityasmara. "Pemotretan Pakaian Tradisional Adat Bali Dalam Karya Fotografi Prewedding Di Maxhelar Photography." Retina Jurnal Fotografi 4, no. 1 (2024): 31–43. http://dx.doi.org/10.59997/rjf.v4i1.3259.

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Fotografi prewedding telah menjadi bagian tak terpisahkan dalam perayaan pernikahan modern, dimana pasangan calon pengantin mengabadikan momen-momen indah sebelum hari pernikahan mereka. Budaya Bali dengan segala keunikan dan keelokannya, menjadi daya tarik tersendiri bagi penulis. Pakaian adat tradisional Bali tidak hanya sebuah penanda identitas, tetapi juga merupakan karya seni yang tinggi. Setiap detil pada pakaian ini mencerminkan sejarah panjang dan kearifan lokal masyarakat Bali. Oleh karena itu, penulis merasa terdorong untuk melakukan eksplorasi dan mendalami keindahan pakaian adat tr

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Takıcak, Oğuzhan, Okan Akyol, and Hasan Torun. "Additional record of devil firefish, Pterois miles (Bennett, 1828) (Scorpaenidae) from Izmir Bay (NE Aegean Sea, Türkiye)." Aquatic Research 8, no. 1 (2025): 66–69. https://doi.org/10.3153/ar25007.

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This ichthyological note presents a recent observation of a Pterois miles within an artificial reef shared with an octopus off Urla in the Bay of Izmir (northern Aegean Sea). On 31 May 2024, a P. miles specimen was observed and photographed by a GoPro Hero 9 Black video camera during SCUBA diving at a depth of 9 m. This report provides signs suggesting that a very fast-spreading invasive species may use an artificial reef as a long-term habitat as it moves into the Bay of Izmir.

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Kosyan, Armine, Alireza Zamani, and Yuri M. Marusik. "Notes on Dysderidae (Arachnida, Araneae) of Armenia and Iran, with new species and records." ZooKeys 1172 (July 25, 2023): 117–30. https://doi.org/10.3897/zookeys.1172.107112.

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New data are provided on dysderid spiders of Armenia and Iran. Dysdera haykana sp. nov. is described based on male specimens collected in Kotayk and Lor provinces, central and northern Armenia. The female of Dysdera nakhchivanica Beydizade, Shafaie & Guseinov, 2018 is described for the first time, and the species is newly recorded from Armenia. Furthermore, new distribution data are provided for Harpactea armenica Dunin, 1989, including the first record of the species from Iran. Photographs and a distribution map are provided for all three species.

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14

Cherry, Peter. "“I’d rather my brother was a bomber than a homo”: British Muslim masculinities and homonationalism in Sally El Hosaini’s My Brother the Devil." Journal of Commonwealth Literature 53, no. 2 (2017): 270–83. http://dx.doi.org/10.1177/0021989416683761.

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Images of young British Muslim men engaging in terrorist activity or gang warfare proliferate in contemporary media. Such distortions frame Muslim males as a homogeneous and threatening presence within Britain; men who, despite living in the UK, are prone to a pathological form of masculinity supposedly inculcated by their religio-cultural background. In Terrorist Assemblages, Jasbir K. Puar develops the framework of “homonationalism” to examine the relationship between hostilities towards Muslims and growing acceptance of LGBT subjectivities in Euro-America. Puar argues that popular discourse

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15

PATANO, ROMEO R. Jr, ALMA B. MOHAGAN, JOSEF TUMBRINCK, VICTOR B. AMOROSO, and JOSIP SKEJO. "Horned and spiky: Tegotettix derijei sp. n. (Orthoptera: Tetrigidae) is a peculiar new pygmy grasshopper species from Mindanao." Zootaxa 4933, no. 2 (2021): 198–210. http://dx.doi.org/10.11646/zootaxa.4933.2.2.

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A new peculiar, spiky, and yellowish species of the genus Tegotettix Hancock, 1913 is described from the Davao region of the island of Mindanao (the Philippines)—T. derijei sp. n. (Mindanao horned pygmy devil). The species is visually similar to T. cristiferus (Günther, 1935) from Borneo and T. armatus Hancock, 1913 from Borneo, which is the type species of the genus, and of which a new record from Sabah is also presented in the study. The new species is also similar to an undescribed species from Bukidnon, which we presented by photographs in its natural habitat. To date, T. armatus was known

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16

Gortázar, Paula, and Ramón Esparza. "Amblyopia." Fotocinema. Revista científica de cine y fotografía 2, no. 19 (2019): 14. http://dx.doi.org/10.24310/fotocinema.2019.v2i19.6677.

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But like everything related to our vision, amblyopia is certainly complex term both to delimite and define. What does it exactly mean to ‘see right’? At present, I am writing this text as I see it through my computer screen, which has a resolution way higher than that of the analogue television we used to watch during our childhood years. But higher resolution undoubtly involves more information that needs to be captured by our sight and later processed by our brains. Just like it happens when comparing old gravure printing techniques with high-end image printing processes from the present tim

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17

Miramontes Olivas, Adriana, Juan De Dios Mora, and Deborah Caplow. "Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 58–72. http://dx.doi.org/10.5195/contemp.2017.222.

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Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by

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18

Glaus, Kerstin, Luke Gordon, Tom Vierus, Natasha D. Marosi, and Helen Sykes. "Rays in the Shadows: Batoid Diversity, Occurrence, and Conservation Status in Fiji." Biology 13, no. 2 (2024): 73. http://dx.doi.org/10.3390/biology13020073.

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Over recent decades, elasmobranchs (sharks, rays, and skates) have been increasingly recognized among the world’s most threatened marine wildlife, leading to heightened scientific attention. However, batoids (rays and skates) are relatively understudied, especially in Large Ocean States of the Pacific. This synthesis compiles insights on batoid diversity and occurrence in Fiji’s waters by integrating a literature review, participatory science programs such as the Great Fiji Shark Count (GFSC) Initiative, Projects Abroad Fiji (PA), Manta Project Fiji (MPF), and iNaturalist, along with environme

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19

Ivanciuc, Teofil. "O toacă unicat din Maramureș - România. Note despre istoria acestui instrument la români." Anuarul Muzeului Etnograif al Transilvaniei 32 (December 20, 2018): 29–51. http://dx.doi.org/10.47802/amet.2018.32.03.

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The semantron (“toaca” in Romanian language), the oldest musical instrument being in use since Neolithic and documented 4000 years ago, has entered in the Christian Church during the first centuries A.D., surviving in the Orthodox Church until today. In the Romanian History, the semantron is clearly attested since 17 century. About the semantron are preserved many myths, the most important being the stories related to Noah, the Patriarch, who has used it during the building of the Ark, as a powerful remedy for chasing away the Devil who has repeatedly destroyed the vessel. This particular tale

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20

Hobday, Alistair J. "Nighttime driver detection distances for Tasmanian fauna: informing speed limits to reduce roadkill." Wildlife Research 37, no. 4 (2010): 265. http://dx.doi.org/10.1071/wr09180.

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Context. Roadkill is a wildlife management issue in areas where high traffic volume passes through relatively intact natural habitat. High density of roadkill in Tasmania is observed in concentrated ‘hotspots’, and local mitigation of vehicle speed may thus be an appropriate management response. Although warning signage is often advocated, this may not effectively reduce roadkill if the suggested speed does not provide sufficient time for the animal to be detected and for the vehicle to be stopped. Aims. The detection distance at night for common roadkill species and corresponding driving spee

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Pujante González, Domingo. "Apertura: No hay palabras..." HYBRIDA, no. 5(12/2022) (December 27, 2022): 3. http://dx.doi.org/10.7203/hybrida.5(12/2022).25813.

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Il me regarde. Parfois il murmure des mots que je ne comprends pas. Et puis il s’assoit sur le lit, et il rabat les couvertures. Il dit mon nom tout bas, tu dormais, mon amour ? Là il n’y a plus d’espoir, je sais que ça commence. J’ouvre les yeux sur le noir de la chambre qui peu à peu s’éclaire et dévoile le visage de papa. Il n’y a pas de mots pour ce qu’il me fait dans la chambre. Voix coupée, je ne pourrai jamais le dire. À moi seule je le dis pour ne pas me perdre de vue. Lori Saint-Martin (1999). Mon père, la nuit (p. 7). L’instant même.  Nous voilà au troisième s

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22

Ūdre, Sandra. "THE TYPES OF INTERTEXTEMES IN LATGALIAN DRAMA." Via Latgalica, no. 3 (December 31, 2010): 68. http://dx.doi.org/10.17770/latg2010.3.1682.

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<p>When assessing the previous experience in the research of intertextuality as problematical should be acknowledged the choice of terms being used, definition of units subject to analysis and systematization according to certain criteria. For solution of problematic issues recognition of intertexteme is offered as the lowest representation of intertextuality. When the mechanism of intertextuality is reviewed structurally, it reveals in correlation of the form and semantics. In order to the text unit, taken from the source text and entered into another text, to become a intertexteme, it

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23

Akça Ataç, C., and Nur Köprülü. "“Don’t Give Up! Don’t Give in!” Gender in International Relations and “Curious” Feminist Questions." Kadın/Woman 2000, Journal for Womens Studies 20, no. 2 (2019): i—xii. http://dx.doi.org/10.33831/jws.v20i2.92.

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In her recent book published after the election of Donald Trump as the US President in 2016, Cynthia Enloe argues that the patriarchy, similar to our smart phones, has updated itself as a reaction against the achievements of the second and third wave feminisms. The updated patriarchy has this time renewed itself through the beliefs and values about the ways the world works (2017). The competing foreign policies representing the hypermasculine hegemonic masculinity of the current world politics and its authoritarian leaders are the outputs of this new updated version of patriarchy. Enloe doubts

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24

Dietschy, Nathalie. "Voiles de deuil sur le glacier du Rhône : paysages de désolation et émotions solastalgiques." Frontières 36, no. 1 (2025). https://doi.org/10.7202/1117115ar.

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Au glacier du Rhône, en Suisse, comme ailleurs dans les Alpes, des bâches géotextiles sont posées en été sur certaines zones afin de protéger la masse glaciaire et de préserver le tourisme. Plusieurs photographes, parmi lesquels Simon Norfolk et Klaus Thymann, Bernard Garo, Laurence Piaget-Dubuis, Jacques Pugin ou encore Anna Katharina Scheidegger, se sont intéressés à ce nouveau paysage. La série de Norfolk et Thymann, Shroud (2018), réalisée pour l’organisation Project Pressure, vise par exemple à rendre visible la disparition du glacier en montrant un paysage de désolation qui invite au rec

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de la Cruz Lichet, Virginia. "Constructions narratives et dispositifs scéniques dans la photographie des défunts." Frontières 35, no. 1 (2024). http://dx.doi.org/10.7202/1113458ar.

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Cet article propose une réflexion sur les différents modes de représentation de la mort (et du deuil) à travers la photographie, la vidéo et l’installation immersive avec des exemples du 19e siècle (les portraits photographiques de défunts) et une sélection d’oeuvres plus contemporaines (Walter Schels, Andrés Serrano, Bill Viola, etc.) pour analyser l’évolution des constructions narratives et des dispositifs scéniques dans l’image visuelle. La photographie et le cinéma se sont rapidement emparés de la tradition picturale de la représentation de la mort. Très vite, ces médiums ont dû innover da

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Costa Vieira, Erika Viviane. "Textile poetics of stitches and sutures in Névoa e Assobio (2017)." Figures de brodeuses du Moyen Âge à nos jours : entre soumission et résistance ?, no. 7 (December 15, 2023). http://dx.doi.org/10.56078/motifs.1022.

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Névoa e Assobio de Bianca Dias (2017) se configure comme un récit poétique qui habite le seuil du deuil après un épisode de maternité qui n'aura duré que cinq jours. La modalité sensorielle de Lars Elleström (2021) nous permet de scruter l'entrelacement de la combinaison iconotextuelle de l'illustration brodée de Julia Panadés et du texte de Bianca Dias. La broderie, à son tour, n'est évoquée que par la photographie, constituant comme une référence intermédiale selon Irina Rajewsky (2012). Ce texte vise à analyser les relations entre le texte et la modalité sensorielle du média textile, représ

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27

Beard, Annalea, Leeann Henry, Samantha Cherrett, and Alistair D. M. Dove. "The occurrence of mobulid rays at St Helena Island, Cardno seamount and Bonaparte seamount in the South Atlantic and its significance for conservation." Marine Biodiversity Records 14, no. 1 (2021). http://dx.doi.org/10.1186/s41200-021-00214-8.

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AbstractData from 369 sightings of mobulid rays from St Helena Island, Cardno and Bonaparte seamounts in the South Atlantic are summarised. 50 % (183) of sightings were observed from a boat, 48 % (176) of sightings were encountered in water, of which 95 % (168) were whilst actively scuba diving. 2 % (10) of mobulid ray sightings were observed from land. Sightings data indicate that the Chilean devil ray Mobula tarapacana (Philippi, 1892) is a frequent visitor to St Helena and is present all year. We document the first photographic evidence of the presence of oceanic manta, Mobula birostris (Wa

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Van Dembroucke, Celina. "Portraits d’un deuil impossible : la présence des disparus dans un journal argentin1." Frontières 35, no. 1 (2024). http://dx.doi.org/10.7202/1113456ar.

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Cet article se concentre sur les photographies des disparus de la dernière dictature militaire en Argentine (1976-1983), les recordatorios publiés par leurs proches dans un journal. L’émergence de ces textes marque la naissance d’un genre inédit et contradictoire, car ils comportent des éléments appartenant à deux genres discursifs opposés : les avis de recherche de personnes disparues et les nécrologies. Deux types de photographies sont inclus dans ces annonces : les photos d’identité, extraites d’un document officiel, et des images de famille. Ces dernières illustrent l’enchevêtrement entre

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Landy, Shanna, Santiago Peralta, Larry Vogelnest, and Nadine Fiani. "The Macroscopic and Radiographic Skull and Dental Pathology of the Tasmanian Devil (Sarcophilus harrisii)." Frontiers in Veterinary Science 8 (June 10, 2021). http://dx.doi.org/10.3389/fvets.2021.693578.

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While the gross skull and dental morphology, masticatory biomechanics, dental eruption patterns, and radiographic dental anatomy has been described in the Tasmanian devil (Sarcophilus harrisii), to date no studies have comprehensively examined the prevalence and appearance of pathologic processes affecting their skulls and dentition. As such, the aim of this study was to describe macroscopic and radiographic anatomy and identify the prevalence of anatomic variations and pathological processes in Tasmanian devil dentition and skulls. To do so, anatomical and pathological findings were documente

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Maryani, Zulisih. "Penggunaan Kata dan Frase ’Tidak Baku’ dalam Bidang Fotografi." REKAM: Jurnal Fotografi, Televisi, dan Animasi, September 6, 2013. http://dx.doi.org/10.24821/rekam.v0i0.382.

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The purpose of this study is to describe the use of words and phrases'non-standard' in the field of photography are presented along withjustification. In addition, the purpose of this study is also to describe thefactors causing the writing of words and phrases' non-standard in the fieldof photography.This research used descriptive method with three stages, namely datacollecting stage, data analysis stage, and result data analysis presentationstage. Data collecting stage was conducted by observing the language used in words and phrases ‘non-standard’ in the field of photography. Observing was

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31

Smith, Royce W. "The Image Is Dying." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2172.

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The whole problem of speaking about the end…is that you have to speak of what lies beyond the end and also, at the same time, of the impossibility of ending. Jean Baudrillard, The Illusion of the End(110) Jean Baudrillard’s insights into finality demonstrate that “ends” always prompt cultures to speculate on what can or will happen after these terminations and to fear those traumatic ends, in which the impossible actually occurs, may only be the beginning of chaos. In the absence of “rational” explanations for catastrophic ends and in the whirlwind of emotional responses that are their after-e

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Stewart, Jonathan. "If I Had Possession over Judgment Day: Augmenting Robert Johnson." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.715.

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augmentvb [ɔːgˈmɛnt]1. to make or become greater in number, amount, strength, etc.; increase2. Music: to increase (a major or perfect interval) by a semitone (Collins English Dictionary 107) Almost everything associated with Robert Johnson has been subject to some form of augmentation. His talent as a musician and songwriter has been embroidered by myth-making. Johnson’s few remaining artefacts—his photographic images, his grave site, other physical records of his existence—have attained the status of reliquary. Even the integrity of his forty-two surviving recordings is now challenged by audi

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De Vos, Gail. "A Stranger at Home: A True Story by C. Jordan-Fenton & M. Pokiak-Fenton." Deakin Review of Children's Literature 1, no. 4 (2012). http://dx.doi.org/10.20361/g23g6p.

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Jordan-Fenton, Christy and Margaret Pokiak-Fenton. Illus. Liz Amini-Holmes. A Stranger at Home: A True Story. Toronto: Annick Press, 2011. Print. This straightforward and powerful sequel to Fatty Legs begins with Margaret’s return after her two year travail in residential school. Her eager anticipation quickly turns to bewilderment when she no longer feels part of her family or culture due to the changes she has been forced to undergo: English is now her first language of communication, her stomach cannot accept the once familiar foods, she is anxious about the possible damnation of her family

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Giblett, Rod. "New Orleans: A Disaster Waiting to Happen?" M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.588.

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IntroductionNew Orleans is one of a number of infamous swamp cities—cities built in swamps, near them or on land “reclaimed” from them, such as London, Paris, Venice, Boston, Chicago, Washington, Petersburg, and Perth. New Orleans seemed to be winning the battle against the swamps until Hurricane Katrina of 2005, or at least participating in an uneasy truce between its unviable location and the forces of the weather to the point that the former was forgotten until the latter intruded as a stark reminder of its history and geography. Around the name “Katrina” a whole series of events and images

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Coull, Kim. "Secret Fatalities and Liminalities: Translating the Pre-Verbal Trauma and Cellular Memory of Late Discovery Adoptee Illegitimacy." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.892.

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I was born illegitimate. Born on an existential precipice. My unwed mother was 36 years old when she relinquished me. I was the fourth baby she was required to give away. After I emerged blood stained and blue tinged – abject, liminal – not only did the nurses refuse me my mother’s touch, I also lost the sound of her voice. Her smell. Her heart beat. Her taste. Her gaze. The silence was multi-sensory. When they told her I was dead, I also lost, within her memory and imagination, my life. I was adopted soon after but not told for over four decades. It was too shameful for even me to know. Impri

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Geoghegan, Hilary. "“If you can walk down the street and recognise the difference between cast iron and wrought iron, the world is altogether a better place”: Being Enthusiastic about Industrial Archaeology." M/C Journal 12, no. 2 (2009). http://dx.doi.org/10.5204/mcj.140.

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Introduction: Technology EnthusiasmEnthusiasts are people who have a passion, keenness, dedication or zeal for a particular activity or hobby. Today, there are enthusiasts for almost everything, from genealogy, costume dramas, and country houses, to metal detectors, coin collecting, and archaeology. But to be described as an enthusiast is not necessarily a compliment. Historically, the term “enthusiasm” was first used in England in the early seventeenth century to describe “religious or prophetic frenzy among the ancient Greeks” (Hanks, n.p.). This frenzy was ascribed to being possessed by spi

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Brien, Donna Lee. "Demon Monsters or Misunderstood Casualties?" M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2845.

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Over the past century, many books for general readers have styled sharks as “monsters of the deep” (Steele). In recent decades, however, at least some writers have also turned to representing how sharks are seriously threatened by human activities. At a time when media coverage of shark sightings seems ever increasing in Australia, scholarship has begun to consider people’s attitudes to sharks and how these are formed, investigating the representation of sharks (Peschak; Ostrovski et al.) in films (Le Busque and Litchfield; Neff; Schwanebeck), newspaper reports (Muter et al.), and social media

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Blackwood, Gemma. "X-Rated Indie Film and A24." M/C Journal 27, no. 4 (2024). http://dx.doi.org/10.5204/mcj.3076.

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This article investigates the ways that Ti West’s X horror film series uses the premise of pre-Internet American porno filmmaking as a grimy yet cool marker of American independent cinematic authenticity. The trilogy – composed of X (2022), Pearl (2022), and MaXXXine (2024) – uses the slasher horror genre to examine the porn industry and the history of twentieth-century cinema, with a particular focus on the so-called “golden age” (1969–1984) of 35mm feature film American pornography (Paasonen and Saarenmaa). Arguably, in these films the slasher horror genre reflects conventions previously ass

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Luigi Alini. "Architecture between heteronomy and self-generation." TECHNE - Journal of Technology for Architecture and Environment, May 25, 2021, 21–32. http://dx.doi.org/10.36253/techne-10977.

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Introduction «I have never worked in the technocratic exaltation, solving a constructive problem and that’s it. I’ve always tried to interpret the space of human life» (Vittorio Garatti). Vittorio Garatti (Milan, April 6, 1927) is certainly one of the last witnesses of one “heroic” season of Italian architecture. In 1957 he graduated in architecture from the Polytechnic of Milan with a thesis proposing the redesign of a portion of the historic centre of Milan: the area between “piazza della Scala”, “via Broletto”, “via Filodrammatici” and the gardens of the former Olivetti building

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