Relevant bibliographies by topics / Free Form Arts Trust (Great Britain)

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Academic literature on the topic 'Free Form Arts Trust (Great Britain)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Free Form Arts Trust (Great Britain)"

1

Gao, Xiang. "A ‘Uniform’ for All States?" M/C Journal 26, no. 1 (2023). http://dx.doi.org/10.5204/mcj.2962.

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Introduction Daffodil Day, usually held in spring, raises funds for cancer awareness and research using this symbol of hope. On that day, people who donate money to this good cause are usually given a yellow daffodil pin to wear. When I lived in Auckland, New Zealand, on the last Friday in August most people walking around the city centre proudly wore a cheerful yellow flower. So many people generously participated in this initiative that one almost felt obliged to join the cause in order to wear the ‘uniform’ – the daffodil pin – as everyone else did on that day. To donate and to wear a daffo
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2

Cushing, Nancy. "To Eat or Not to Eat Kangaroo: Bargaining over Food Choice in the Anthropocene." M/C Journal 22, no. 2 (2019). http://dx.doi.org/10.5204/mcj.1508.

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Kangatarianism is the rather inelegant word coined in the first decade of the twenty-first century to describe an omnivorous diet in which the only meat consumed is that of the kangaroo. First published in the media in 2010 (Barone; Zukerman), the term circulated in Australian environmental and academic circles including the Global Animal conference at the University of Wollongong in July 2011 where I first heard it from members of the Think Tank for Kangaroos (THINKK) group. By June 2017, it had gained enough attention to be named the Oxford English Dictionary’s Australian word of the month (
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Burns, Alex, and Axel Bruns. ""Share" Editorial." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2151.

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Does the arrival of the network society mean we are now a culture of collectors, a society of sharers? We mused about these questions while assembling this M/C Journal issue, which has its genesis in a past event of ‘shared’ confusion. Alex Burns booked into Axel Bruns’s hotel room at the 1998 National Young Writer’s Festival (NYWF) in Newcastle. This ‘identity theft’ soon extended to discussion panels and sessions, where some audience members wondered if the NYWF program had typographical errors. We planned, over café latte at Haddon’s Café, to do a co-session at next year’s festival. By then
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4

Mitropoulos, Maria. "The Documentary Photographer as Creator." M/C Journal 4, no. 4 (2001). http://dx.doi.org/10.5204/mcj.1922.

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Here at Queensland University of Technology, the former Arts Faculty has been replaced by a new Faculty of Creative Industries led by the internationally renowned scholar John Hartley. This has entailed a great deal of reorganisation, planning and debate - very little of which need concern us here. However there was one discussion that does bear fairly directly on my topic. This had to do with whether the discipline of journalism should be included within Creative Industries. Though this was eventually resolved in the affirmative some felt that to call a journalist 'creative' was tantamount to
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Thomas, Brennan. "The Transformative Magic of Education in Walt Disney’s <em>The Sword in the Stone</em>." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2993.

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Introduction The Disney brand has become synonymous with magic through its numerous depictions of spells, curses, prophecies, and pixie dust. Thus, it is ironic that in 2023, the 100th anniversary of the Walt Disney Studio’s founding (“Disney History”), the final film released during Walt Disney’s life, The Sword in the Stone (celebrating its 60th anniversary) remains stuck in obscurity (Aronstein 129) despite being steeped in magic and wizardry. The Sword in the Stone is regarded as “one of the most obscure [films] in the Disney animated canon” (Booker 38). Although it performed moderately we
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6

Goodall, Jane. "Looking Glass Worlds: The Queen and the Mirror." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1141.

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As Lewis Carroll’s Alice comes to the end of her journey through the looking glass world, she has also come to the end of her patience with its strange power games and arbitrations. At every stage of the adventure, she has encountered someone who wants to dictate rules and protocols, and a lesson on table manners from the Red Queen finally triggers rebellion. “I can’t stand this any more,” Alice cries, as she seizes the tablecloth and hurls the entire setting into chaos (279). Then, catching hold of the Red Queen, she gives her a good shaking, until the rigid contours of the imperious figure b
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Melleuish, Greg. "Of 'Rage of Party' and the Coming of Civility." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1492.

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There is a disparity between expectations that the members of a community will work together for the common good — and the stark reality that human beings form into groups, or parties, to engage in conflict with each other. This is particularly the case in so-called popular governments that include some wider political involvement by the people. In ancient Greece stasis, or endemic conflict between the democratic and oligarchic elements of a city was very common. Likewise, the late Roman Republic maintained a division between the populares and the optimates. In both cases there was violence as
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8

Taha, Berk Astam. "Analogies Between Peter Jackson's movie adaptation of The Lord of the Rings and Jeanette Winterson's novel Weight." November 24, 2022. https://doi.org/10.5281/zenodo.7358319.

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<strong>Taha Berk Astam &ndash; i.berkastam@gmail.com</strong> <strong>Yuzuncu Yil University Faculty of Literature Department of English Language and Literature</strong> &nbsp; <strong>Analogies Between Peter Jackson&#39;s movie adaptation of <em>The Lord of the Rings</em> and Jeanette Winterson&#39;s novel <em>Weight</em></strong> &nbsp; <strong>Abstract</strong> &nbsp; Analogies between Peter Jackson&rsquo;s famous fantasy film trilogy, <em>The Lord of the Rings</em>, adapted from J.R.R. Tolkien&rsquo;s trilogy-novel with the same title, and Jeanette Winterson&rsquo;s acclaimed novel <em>We
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9

Richardson, Sarah Catherine. "“Old Father, Old Artificer”: Queering Suspicion in Alison Bechdel’s Fun Home." M/C Journal 15, no. 1 (2012). http://dx.doi.org/10.5204/mcj.396.

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Halfway through the 2006 memoir comic Fun Home, the reader encounters a photograph that the book’s author, Alison Bechdel, found in a box of family snapshots shortly after her father’s death. The picture—“literally the core of the book, the centrefold” (Bechdel qtd. in Chute “Interview” 1006)—of Alison’s teenaged babysitter, Roy, erotically reclining on a bed in only his underwear, is the most tangible and direct evidence of her father’s sexual affairs with teenage boys, more confronting than his own earlier confession. Through this image, and a rich archive of familial texts, Bechdel chronicl
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Gantley, Michael J., and James P. Carney. "Grave Matters: Mediating Corporeal Objects and Subjects through Mortuary Practices." M/C Journal 19, no. 1 (2016). http://dx.doi.org/10.5204/mcj.1058.

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IntroductionThe common origin of the adjective “corporeal” and the noun “corpse” in the Latin root corpus points to the value of mortuary practices for investigating how the human body is objectified. In post-mortem rituals, the body—formerly the manipulator of objects—becomes itself the object that is manipulated. Thus, these funerary rituals provide a type of double reflexivity, where the object and subject of manipulation can be used to reciprocally illuminate one another. To this extent, any consideration of corporeality can only benefit from a discussion of how the body is objectified thr
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Books on the topic "Free Form Arts Trust (Great Britain)"

1

Community art: An anthropological perspective. Berg, 2011.

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