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Journal articles on the topic 'Impossible love stories'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Thomson, Jody. "Stories Painting Pictures <<>> Pictures Painting Stories." Departures in Critical Qualitative Research 9, no. 3 (2020): 28–47. http://dx.doi.org/10.1525/dcqr.2020.9.3.28.

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In this essay, I work with the stories and artwork generated by a small group of visual art therapists who came together in a collective biography workshop. All of the participants, including the author, specialize in end-of-life and palliative art therapy. As a collective, we worked to bring our experiences back to our bodies through stories, art-making, and writing, to explore how working with people in the last days, weeks, or months of their lives affects us. In this essay I ask: What happens when stories paint pictures, and when pictures paint stories, to make visible our experiences of d

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Klebes, Martin. "If Worlds Were Stories." Konturen 2, no. 1 (2010): 124. http://dx.doi.org/10.5399/uo/konturen.2.1.1346.

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The metaphysics of possible worlds proposed by the analytic philosopher David K. Lewis offers an account of fictional discourse according to which possible worlds described in fiction are just as real as the actual world. In an inspired reversal of the analysis of literary fictions by such philosophical means, the French poet Jacques Roubaud makes direct reference to Lewis’ controversial ontological picture in two cycles of elegies composed between 1986 and 1990. Roubaud’s poems take up the idea of possible worlds as real entities, and at the same time they challenge the notion that philosophy

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Allouche, Sabiha. "QUEERING HETEROSEXUAL (INTERSECTARIAN) LOVE IN LEBANON." International Journal of Middle East Studies 51, no. 4 (2019): 547–65. http://dx.doi.org/10.1017/s0020743819000655.

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AbstractThis article draws on a year of ethnography conducted among cis heterosexual couples in contemporary urban Lebanon in order to argue that, in the absence of a serious project of national reconciliation, intersectarian love, despite its short lifespan, constitutes restorative instances in post–civil war Lebanon. Intersectarian hetero desire emerges as a counter-discourse that threatens the masculinist foundations of the Lebanese state. By tracing the timeline of love in the life of Lebanese citizens, this article places personal narratives of “impossible” intersectarian love stories in

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Miller, Nancy K. "The Entangled Self: Genre Bondage in the Age of the Memoir." PMLA/Publications of the Modern Language Association of America 122, no. 2 (2007): 537–48. http://dx.doi.org/10.1632/pmla.2007.122.2.537.

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So, I'm just like everybody else. I go to the bookstore. I pick out a book I love. If it says memoir, I know that—that maybe the names and dates and times have been compressed, because that' what a memoir is.—Oprah Winfrey on Larry King Live, 11 January 2006I wanted the stories in the book to ebb and flow, to have dramatic arcs, to have the tension that all great stories require. I altered events all the way through the book.—James Frey, New York Times, 2 February 2006Sometimes the facts threaten the truth.—Amos Oz, A Tale of Love and DarknessOf course it is impossible to tell the truth. For e

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Borisova, A. B. "The Short Story of A. P. Platonov «The Impossible»: Genre-Narrative Structure, Function of Duality as a Way of Modeling of the Author’s Personality." Studies in Theory of Literary Plot and Narratology, no. 1 (2019): 160–71. http://dx.doi.org/10.25205/2410-7883-2019-1-160-171.

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In this article the short story of A. P. Platonov “The Impossible” (1921) is considered as a multidimensional wholeness, with a complex structure – at the level of genre and of narration. We highlight biography, scientific article, elements of a philosophical essay, lyric and philosophical poem in the genre structure. In addition to a neutral background, we highlight the lyrical monologue, scientific and publicistic discourse at the narrative level. The genre and stylistic heterogeneity of this short story did not allow researchers to unambiguously determine its genre dominant for a long time.

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Panasiuk, Valerii. "Ideas’ stories and people’s stories in A. Zholdak’s directorial conception." Aspects of Historical Musicology 19, no. 19 (2020): 358–73. http://dx.doi.org/10.34064/khnum2-19.21.

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Problematic field, objectives and methodology of the study. The “star” figure of A. Zholdak, one of the most shocking directors intriguing with his unpredictability, cannot be overlooked in the sky of modern theatrical art. True, not of national art, but Western European or Russian – the stage productions of the avant-garde director resonate with the priority world trends in theatrical culture. This also applies to musical performances, where the staging process in last time has been carried out under the sign of the “Regio-Theater”, under the director’s concept, which is often radical and rev

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Vogel, Erica. "Ongoing Endings." Journal of Contemporary Ethnography 45, no. 6 (2016): 673–91. http://dx.doi.org/10.1177/0891241616654542.

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This paper explores intersecting narratives of loss and possibility through the experiences of undocumented Peruvian migrant workers who find previously unimaginable possibilities for migration and love despite—and often because of—their inability to remain in South Korea. In this global space, Peruvians are surrounded by people in transit and are inspired to create long-term plans that would be difficult, if not impossible, were they documented and permanent—such as entering into hurried romantic relationships with other migrants. Forging temporarily permanent legal ties in Korea (such as mar

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Gómez Galisteo, Carmen. "“If you can’t fix it you got a stand it”: impossible love stories, identity and masculinity in “the lady with the dog” and “brokeback mountain”." ODISEA. Revista de estudios ingleses, no. 18 (April 26, 2018): 51. http://dx.doi.org/10.25115/odisea.v0i18.426.

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Martin, Emma. "A (Re)Adoption Story." Texas A&M Law Review 5, no. 3 (2018): 537–61. http://dx.doi.org/10.37419/lr.v5.i3.3.

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Ava was adopted from Africa when she was four years old. She became the baby sister to two older brothers and the daughter to two loving, experienced parents. A year or two after Ava moved to America, she and her “forever family” attended a Colorado summer camp. All was seemingly well until the camp staff and the other families at camp started to notice something strange about the way Ava’s parents treated her compared to her brothers. After an activity, the parents greeted the brothers with an excited “did you have fun?” or “what did you learn?,” while the parents greeted Ava with a terse sco

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Anisimov, K. V. "Bunin’s Chests: The Semantic Perspective of a Mundane Image." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 343–54. http://dx.doi.org/10.25205/2410-7883-2020-2-343-354.

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A number of observations provided by the given article are dedicated to a single element taken out of Bunin's plethora of mundane and routine things represented in his prose, i.e. chests and trinket boxes which are traced here in the perspective of symbolic and metaphoric potential of the author’s artistic writing, the ability of the latter to invest intensively the sense into a distinct object – a notion that may serve as a supplement to the mainstream and widespread concept of “enumerating”, cumulative tendency as a predominant in Bunin’s narrative. The reached result of the comparison of ch

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Jim, Danny, Loretta Joseph Case, Rubon Rubon, Connie Joel, Tommy Almet, and Demetria Malachi. "Kanne Lobal: A conceptual framework relating education and leadership partnerships in the Marshall Islands." Waikato Journal of Education 26 (July 5, 2021): 135–47. http://dx.doi.org/10.15663/wje.v26i1.785.

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Education in Oceania continues to reflect the embedded implicit and explicit colonial practices and processes from the past. This paper conceptualises a cultural approach to education and leadership appropriate and relevant to the Republic of the Marshall Islands. As elementary school leaders, we highlight Kanne Lobal, a traditional Marshallese navigation practice based on indigenous language, values and practices. We conceptualise and develop Kanne Lobal in this paper as a framework for understanding the usefulness of our indigenous knowledge in leadership and educational practices within for

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"The Decameron: On the Possibility of Love During Self-Isolation." Philosophical Literary Journal Logos 31, no. 2 (2021): 143–78. http://dx.doi.org/10.22394/0869-5377-2021-2-143-175.

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This article in the genre of the consolation of philosophy deals with the COVID-19 pandemic as a new superphenomenal experience marked by an extremely intense experience of one’s vulnerability and finiteness as well as by problematization of our previous ideas of a human being. The author offers a way to understand our situation and find solace by starting with the performative paradox of Giovanni Boccaccio’s Decameron, which contains one of the most famous descriptions of the plague and remains one of the most cheerful and life-enhancing texts in European literature. The article shows that, c

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Nirwana, Andri. "KONSEP PENDIDIKAN PSIKOLOGI RELIGIUSITAS REMAJA MUSLIM DALAM MOTIVASI BERAGAMA." At-Ta'dib: Jurnal Ilmiah Prodi Pendidikan Agama Islam, June 29, 2020, 71. http://dx.doi.org/10.47498/tadib.v12i01.324.

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Islam outlines several important aspects in educating children, especially adolescents, to the path of Allah SWT. First, giving love and sufficient living needs. Teenagers in the initial ranks need enough affection than your mother so they don't feel emptiness in the soul. This responsibility must be carried out by the mother and father as well as possible. The Word of God which means QS. Ali-Imran: 14. The instincts of love that manifest in human beings should be nurtured as best as possible according to the will of Islamic law. In giving love to children, it is not enough for the mother and

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Shaw, Jeffrey Jon. "Ralph Lainson. 21 February 1927—5 May 2015." Biographical Memoirs of Fellows of the Royal Society, December 2, 2020. http://dx.doi.org/10.1098/rsbm.2020.0032.

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Ralph Lainson was a distinguished protozoologist and a parasitologist of many abilities. Above all, he was a naturalist, as reflected both by his approach to work and by his two principal hobbies, fishing and collecting butterflies. Besides this, he had a strong artistic streak, expressed by his love of playing the trombone and painting. Many of his published works are exquisitely illustrated with his own watercolour and pen and ink drawings. These talents are present throughout his scientific career. He was a ‘traditional protozoologist’, who wanted to find out how parasites were transmitted

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Miller, Edward D. "Why Does Love Tear Us Apart?" M/C Journal 5, no. 6 (2002). http://dx.doi.org/10.5204/mcj.2006.

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"Love Will Tear Us Apart" When routine bites hard, And ambitions are low, And resentment rides high, But emotions won't grow, And we're changing our ways, taking different roads. Then love, love will tear us apart, again. Love, love will tear us apart again. Why is the bedroom so cold? You've turned away on your side. Is my timing that flawed? Our respect runs so dry. Yet there's still this appeal that we've kept through our lives But love, love will tear us apart, again. Love, love will tear us apart, again. You cry out in your sleep, All my failings exposed. And there's a taste in my mouth,

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Reesink, Maarten. "The Eternal Triangle of Love, Audiences and Emo-TV." M/C Journal 5, no. 6 (2002). http://dx.doi.org/10.5204/mcj.2010.

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Looking back, the most striking development on the TV screen during the last decade, at least in the Netherlands, was without any doubt the explosive rise of what is usually called reality television. As reality TV almost always shows a profound interest in ‘real’ people’s emotions (hence the term ‘emotion television’ or ‘emo-TV’ as it is commonly shortened in Dutch), it has been heavily criticized for its apparently unscrupulous use, or rather abuse, of people’s feelings for the purpose of achieving higher ratings and profits. It has also been condemned for being television for large audience

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Childhood Studies, Journal of. "Call for Papers -Re-thinking the Ludic: Imagining Play as Otherwise." Journal of Childhood Studies 41, no. 2 (2016). http://dx.doi.org/10.18357/jcs.v41i2.16102.

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Guest Editors Kathryn Ricketts and Patrick Lewis, University of Regina, Education Johan Huizinga (1944) reminds us that, “Play is older than culture, for culture, however inadequately defined, always presupposes human society, and animals have not waited for man to teach them their playing” (1950, p. 1). In his work Homo Ludens [Man the player or Playing man] he argued that play is a fundamental human function that permeates all cultures from the beginning. Indeed, he argues that “human civilization has added no essential feature to the general idea of play” (p. 1). Play is not a by-product or

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Prihantono, Kahar Dwi. "ANALISIS STILISTIKA SENO GUMIRA AJIDARMA DALAM CERPEN REMBULAN DALAM CAPUCINO: KAJIAN POSTMODERNISME JEAN FRANCOIS LYOTARD [Seno Gumira Ajidarma’s Literary Stylistics in “A Short Story Rembulan dalam Capucino”: A Study of Jean Francois Lyotard Postmodernism]." TOTOBUANG 6, no. 1 (2018). http://dx.doi.org/10.26499/ttbng.v6i1.79.

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The research analyzes literary stylistics of Seno Gumira Ajidarma’s short story, "Rembulan dalam Capucino ",by taking advantages of Lyotard’s postmodernismperspectives. By applying andescriptive method, the writer found postmodern storytelling stylistics involving at least seven postmodern styles, namely fragmentation, sublim language play, pastiche, parody, kitsch, camp, and schizophrenia. Fragmentation wasfound in the style of merging separate fragments of rembulan and creating its new meanings.Sublime language play was seen on SGA trials to change something impossible to be possible. Pastic

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Sulz, David. "Pathfinder by O. S. Card." Deakin Review of Children's Literature 1, no. 1 (2011). http://dx.doi.org/10.20361/g2301z.

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Card, Orson S. Pathfinder. New York: Simon Pulse, 2010. Print. Two warnings are in order before you read the first line. It is long (657 pages) and just the first in a series. Warnings are offered because the story is so completely engrossing that your sense of time will be altered. While you are in the story, time will speed up or slow down with the pace of the story and you will want to linger in some passages to figure out what is going on but speed through others to find out what will happen. When you are away from the story, your sole thought will be how to get back to it. Hours will pass

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Eremenko, Shannon. "This is My Book! by M. Pett." Deakin Review of Children's Literature 6, no. 4 (2017). http://dx.doi.org/10.20361/g2090r.

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Pett, Mark. This is My Book! Knopf Books for Young Readers, 2016. This simple children’s picture book written and illustrated by the self proclaimed “authorstrator”, Mark Pett, conveys a strong message about sharing to its 3-7 year old audience. The pristinely white pages are the backdrops to the author’s instructions on how to create a book. Pett skillfully poses himself as the main character, making it known that he is the boss of this great work of art and solely in charge of how to accomplish his goal. Of utmost importance, under his decree, is that the book itself needs to stay nice and c

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Green, Lelia. "Sex." M/C Journal 5, no. 6 (2002). http://dx.doi.org/10.5204/mcj.2000.

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This paper addresses that natural consort of love: sex. It particularly considers the absence of actual sex from mainstream popular culture and the marginalisation of 'fun' sex as porn, requiring its illicit circulation as ‘illegitimate’ videos. The absence of sex from films classified and screened in public venues (even to over-18s) prevents a discourse about actual sex informing the discourse of love and romance perpetuated through Hollywood movies. The value of a variety of representations of sexual practice in the context of a discussion of love, sex and romance in Western cinema was brief

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Caines, Rebecca, Rachelle Viader Knowles, and Judy Anderson. "QR Codes and Traditional Beadwork: Augmented Communities Improvising Together." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.734.

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Images 1-6: Photographs by Rachelle Viader Knowles (2012)This article discusses the cross-cultural, augmented artwork Parallel Worlds, Intersecting Moments (2012) by Rachelle Viader Knowles and Judy Anderson, that premiered at the First Nations University of Canada Gallery in Regina, on 2 March 2012, as part of a group exhibition entitled Critical Faculties. The work consists of two elements: wall pieces with black and white Quick Response (QR) codes created using traditional beading and framed within red Stroud cloth; and a series of videos, accessible via scanning the beaded QR codes. The vi

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Usmar, Patrick. "Born To Die: Lana Del Rey, Beauty Queen or Gothic Princess?" M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.856.

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Closer examination of contemporary art forms including music videos in addition to the Gothic’s literature legacy is essential, “as it is virtually impossible to ignore the relationship the Gothic holds to popular culture” (Piatti-Farnell ii). This article critically examines how Gothic themes and modes are used in the music videos of Lana Del Rey; particularly the “ways in which Gothic is dispersed through contemporary non-literary media” (Spooner and McEvoy 2). This work follows the argument laid down by Edwards and Monnet who describe Gothic’s assimilation into popular culture —Pop Gothic—

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Wright, Katherine. "Bunnies, Bilbies, and the Ethic of Ecological Remembrance." M/C Journal 15, no. 3 (2012). http://dx.doi.org/10.5204/mcj.507.

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Wandering the aisles of my local Woolworths in April this year, I noticed a large number of chocolate bilbies replacing chocolate rabbits. In these harsh economic times it seems that even the Easter bunny is in danger of losing his Easter job. While the changing shape of Easter chocolate may seem to be a harmless affair, the expulsion of the rabbit from Easter celebrations has a darker side. In this paper I look at the campaign to replace the Easter bunny with the Easter bilby, and the implications this mediated conservation move has for living rabbits in the Australian ecosystem. Essential to

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Franks, Rachel. "A Taste for Murder: The Curious Case of Crime Fiction." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.770.

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Introduction Crime fiction is one of the world’s most popular genres. Indeed, it has been estimated that as many as one in every three new novels, published in English, is classified within the crime fiction category (Knight xi). These new entrants to the market are forced to jostle for space on bookstore and library shelves with reprints of classic crime novels; such works placed in, often fierce, competition against their contemporaries as well as many of their predecessors. Raymond Chandler, in his well-known essay The Simple Art of Murder, noted Ernest Hemingway’s observation that “the goo

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Grant-Frost, Rowena. "Love in the Time of Socialism: Negotiating the Personal and the Social in Florian Henckel von Donnersmarck’s The Lives of Others." M/C Journal 15, no. 1 (2011). http://dx.doi.org/10.5204/mcj.392.

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After grossing more than $80 million at the international box office and winning the 2007 Academy Award for Best Foreign Language Film, the international success of Florian Henckel von Donnersmarck’s 2006 film The Lives of Others has popularised the word “Stasi” as a “default global synonym” for the terrors associated with surveillance (Garton Ash). Just as representations of Nazism have become inextricably entwined with a specific kind of authoritarian, murderous dictatorship, Garton Ash argues that so too the Stasi and its agents have come to stand in for a certain kind of authoritarian dict

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Michael, Rose. "Out of Time: Time-Travel Tropes Write (through) Climate Change." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1603.

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“What is the point of stories in such a moment”, asks author and critic James Bradley, writing about climate extinction: Bradley emphasises that “climatologist James Hansen once said being a climate scientist was like screaming at people from behind a soundproof glass wall; being a writer concerned with these questions often feels frighteningly similar” (“Writing”). If the impact of climate change asks humans to think differently, to imagine differently, then surely writing—and reading—must change too? According to writer and geographer Samuel Miller-McDonald, “if you’re a writer, then you hav

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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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Chavda, Krishna. "Wall by T. M. Cole." Deakin Review of Children's Literature 4, no. 4 (2015). http://dx.doi.org/10.20361/g25g69.

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Cole, Tom Clohosy. Wall. London: Templar Books, 2014. Print.Author and illustrator Tom Clohosy Cole tells a poignant story about a little boy separated from his father by the Berlin Wall. The boy worries about his father on the other side of the great divide and dreams of the day when they will find each other again, all with the looming presence of the barb-wired Wall in the background of every page. Inspired by true stories of people being reunited with their loved ones, Cole writes from a little boy’s perspective about hope and his courageous journey with his family to find his father.Altho

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Ettler, Justine. "When I Met Kathy Acker." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1483.

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I wake up early, questions buzzing through my mind. While I sip my morning cup of tea and read The Guardian online, the writer, restless because I’m ignoring her, walks around firing questions.“Expecting the patriarchy to want to share its enormous wealth and power with women is extremely naïve.”I nod. Outside the window pieces of sky are framed by trees, fluffy white clouds alternate with bright patches of blue. The sweet, heady first wafts of lavender and citrus drift in through the open window. Spring has come to Hvar. Time to get to work.The more I understand about narcissism, the more I u

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Brown, Malcolm David. "Doubt as Methodology and Object in the Phenomenology of Religion." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.334.

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Photograph by Gonzalo Echeverria (2010)“I must plunge again and again in the water of doubt” (Wittgenstein 1e). The Holy Grail in the phenomenology of religion (and, to a lesser extent, the sociology of religion) is a definition of religion that actually works, but, so far, this seems to have been elusive. Classical definitions of religion—substantive (e.g. Tylor) and functionalist (e.g. Durkheim)—fail, in part because they attempt to be in three places at once, as it were: they attempt to distinguish religion from non-religion; they attempt to capture what religions have in common; and they a

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Culver, Carody. "My Kitchen, Myself: Constructing the Feminine Identity in Contemporary Cookbooks." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.641.

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Sometimes ... we don’t want to feel like a post-modern, post-feminist, overstretched woman but, rather, a domestic goddess, trailing nutmeggy fumes of baking pie in our languorous wake (Nigella Lawson, How to be a Domestic Goddess vii). IntroductionFor today’s female readers, the idea of trailing “nutmeggy fumes” of home-baked pie through their kitchens could be as much a source of gender-stereotyping outrage as one of desire or longing. Regardless of personal response, there seems little doubt that the image Lawson’s words create prevails even in the 21st century: an apron-clad, kitchen-bound

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Siemienowicz, Rochelle. "Diary of a Film Reviewer." M/C Journal 8, no. 5 (2005). http://dx.doi.org/10.5204/mcj.2409.

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   All critics declare not only their judgment of the work but also their claim to the right to talk about it and judge it. In short, they take part in a struggle for the monopoly of legitimate discourse about the work of art, and consequently in the production of the value of the work of art. (Pierre Bourdieu 36).   As it becomes blindingly obvious that ‘cultural production’, including the cinema, now underpins an economy every bit as brutal in its nascent state as the Industrial Revolution was for its victims 200 years ago, both critique and cinephilia see

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Simons, Ilana. "The Sick and the Unexpected." M/C Journal 4, no. 3 (2001). http://dx.doi.org/10.5204/mcj.1909.

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In "On Being Ill" Virginia Woolf asks why novelists have routinely preferred certain emotions over illness for driving plot. They have canonized passions as much as plotlines: love motivates protagonists; jealousy sustains entire trilogies; loneliness wins our sympathy, but illness almost never drives an epic. Illness does, in fact, have thematic potential: the ill could be catalysts for climax because they are direct. "A childish outspokenness [exists] in illness; things are said, truths blurted out" (13). Because the sick already foresee their deaths, they invest less in the future but want

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Hazleden, Rebecca. "Promises of Peace and Passion: Enthusing the Readers of Self-Help." M/C Journal 12, no. 2 (2009). http://dx.doi.org/10.5204/mcj.124.

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The rise of expertise in the lives of women is a complex and prolonged process that began when the old networks through which women had learned from each other were being discredited or destroyed (Ehrenreich and English). Enclosed spaces of expert power formed separately from political control, market logistics and the pressures exerted by their subjects (Rose and Miller). This, however, was not a question of imposing expertise on women and forcing them to adhere to expert proclamations: “the experts could not have triumphed had not so many women welcomed them, sought them out, and … organised

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Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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   Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi

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Starrs, D. Bruno. "Enabling the Auteurial Voice in Dance Me to My Song." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.49.

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Despite numerous critics describing him as an auteur (i.e. a film-maker who ‘does’ everything and fulfils every production role [Bordwell and Thompson 37] and/or with a signature “world-view” detectable in his/her work [Caughie 10]), Rolf de Heer appears to have declined primary authorship of Dance Me to My Song (1997), his seventh in an oeuvre of twelve feature films. Indeed, the opening credits do not mention his name at all: it is only with the closing credits that the audience learns de Heer has directed the film. Rather, as the film commences, the viewer is informed by the titles that it

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Bartlett, Lexey A. "Who Do I Turn (in)to for Help?" M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2627.

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   Many theories address the material adaptations that organisms—including humans—make to their environments, and many address the adaptation of art to different forms. The film Adaptation (Spike Jonze, 2002) by Charlie Kaufman, ostensibly an adaptation of Susan Orlean’s The Orchid Thief, addresses both kinds of adaptation, but also suggests how humans might psychically adapt to their emotional and mental environments, namely by doubling or multiplying their identities to create companions and helpmates who can help them cope with emotional and mental stresses. To expose some

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Brien, Donna Lee. "Just the Sort of Day Jack Had Always Loved." M/C Journal 2, no. 8 (1999). http://dx.doi.org/10.5204/mcj.1811.

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Edith and John Power were a wealthy expatriate Australian couple who lived in England and Europe from the early years of the 20th century until their deaths. In 1915 John Power married Edith Lee in London before serving as a surgeon on the Western Front in the Royal Army Medical Corps. After the war Edith and John left Britain to live in Paris and Brussels in the centre of a large international group of avant-garde artists. Edith, who was twelve years older than her husband, and had been married twice before (once widowed and once divorced), was to all accounts the driving force behind John's

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Humphreys, Lee, and Thomas Barker. "Modernity and the Mobile Phone." M/C Journal 10, no. 1 (2007). http://dx.doi.org/10.5204/mcj.2602.

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   Introduction As the country with the fifth largest population in the world, Indonesia is a massive potential market for mobile technology adoption and development. Despite an annual per capita income of only $1,280 USD (World Bank), there are 63 million mobile phone users in Indonesia (Suhartono, sec. 1.7) and it is predicted to reach 80 million in 2007 (Jakarta Post 1). Mobile phones are not only a symbol of Indonesian modernity (Barendregt 5), but like other communication technology can become a platform through which to explore socio-political issues (Winner 28). In thi

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Juckes, Daniel. "Walking as Practice and Prose as Path Making: How Life Writing and Journey Can Intersect." M/C Journal 21, no. 4 (2018). http://dx.doi.org/10.5204/mcj.1455.

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Through my last lengthy writing project, it did not take long to I realise I had become obsessed with paths. The proof of it was there in my notebooks, and, most prominently, in the backlog of photographs cluttering the inner workings of my mobile phone. Most of the photographs I took had a couple of things in common: first, the astonishing greenness of the world they were describing; second, the way a road or path or corridor or pavement or trail led off into distance. The greenness was because I was in England, in summer, and mostly in a part of the country where green seems at times the onl

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Quinn, Karina. "The Body That Read the Laugh: Cixous, Kristeva, and Mothers Writing Mothers." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.492.

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The first time I read Hélène Cixous’s The Laugh of the Medusa I swooned. I wanted to write the whole thing out, large, and black, and pin it across an entire wall. I was 32 and vulnerable around polemic texts (I was always copying out quotes and sticking them to my walls, trying to hold onto meaning, unable to let the writing I read slip out and away). You must "write your self, your body must be heard" (Cixous 880), I read, as if for the hundredth time, even though it was the first. Those decades old words had an echoing, a resonance to them, as if each person who had read them had left their

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Brabazon, Tara. "Welcome to the Robbiedome." M/C Journal 4, no. 3 (2001). http://dx.doi.org/10.5204/mcj.1907.

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One of the greatest joys in watching Foxtel is to see all the crazy people who run talk shows. Judgement, ridicule and generalisations slip from their tongues like overcooked lamb off a bone. From Oprah to Rikki, from Jerry to Mother Love, the posterior of pop culture claims a world-wide audience. Recently, a new talk diva was added to the pay television stable. Dr Laura Schlessinger, the Mother of Morals, prowls the soundstage. attacking 'selfish acts' such as divorce, de facto relationships and voting Democrat. On April 11, 2001, a show aired in Australia that added a new demon to the decade

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Dutton, Jacqueline. "Counterculture and Alternative Media in Utopian Contexts: A Slice of Life from the Rainbow Region." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.927.

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Introduction Utopia has always been countercultural, and ever since technological progress has allowed, utopia has been using alternative media to promote and strengthen its underpinning ideals. In this article, I am seeking to clarify the connections between counterculture and alternative media in utopian contexts to demonstrate their reciprocity, then draw together these threads through reference to a well-known figure of the Rainbow Region–Rusty Miller. His trajectory from iconic surfer and Aquarian reporter to mediator for utopian politics and ideals in the Rainbow Region encompasses in a

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Morrison, Susan Signe. "Walking as Memorial Ritual: Pilgrimage to the Past." M/C Journal 21, no. 4 (2018). http://dx.doi.org/10.5204/mcj.1437.

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This essay combines life writing with meditations on the significance of walking as integral to the ritual practice of pilgrimage, where the individual improves her soul or health through the act of walking to a shrine containing healing relics of a saint. Braiding together insights from medieval literature, contemporary ecocriticism, and memory studies, I reflect on my own pilgrimage practice as it impacts the land itself. Canterbury, England serves as the central shrine for four pilgrimages over decades: 1966, 1994, 1997, and 2003.The act of memory was not invented in the Anthropocene. Rathe

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Glover, Bridgette. "Alternative Pathway to Television: Negotiating Female Representation in Broad City’s Transition from YouTube to Cable." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1208.

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IntroductionFor both consumers and creators, Web series have been viewed for some time as an appealing alternative to television series. As Alice explains, creating content for the Web was once seen as “a last resort” for projects that were unable to secure funding for television production (59). However, the Web has, in recent years, become a “legitimized” space, allowing Web series to be considered a media platform capable of presenting narratives of various genres (Alice 59). Moreover, due to the lack of restrictions and overheads placed on Web producers, it is argued that there is more cap

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Flowers, Arhlene Ann. "Swine Semantics in U.S. Politics: Who Put Lipstick on the Pig?" M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.278.

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Swine semantics erupted into a linguistic battle between the two U.S. presidential candidates in the 2008 campaign over a lesser-known colloquialism “lipstick on a pig” reference in a speech by then Democratic presidential candidate, Barack Obama. This resulted in the Republicans sparring with the Democrats over the identification of the “swine” in question, claiming “sexism” and demanding an apology on behalf of then Governor Sarah Palin, the first female Republican vice presidential candidate. The Republican Party, fearful of being criticised for its own sexist and racist views (Kuhn par. 1)

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Malatzky, Christina Amelia Rosa. ""Keeping It Real": Representations of Postnatal Bodies and Opportunities for Resistance and Transformation." M/C Journal 14, no. 6 (2011). http://dx.doi.org/10.5204/mcj.432.

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Introduction Contrary to popular understandings of academia, the work of academics is intrinsically community driven, because scholarly inquiry is invariably about social life. Therefore, what occupies academic scholarship is in the interest of the broader populace, and we rely on the public to inform our work. The findings of academic work are simultaneously a reflection of the researcher, and the public. The research interests of contemporary cultural and social researchers inevitably, and often necessarily, reflect issues and activities that they encounter in their everyday lives. My own do

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Driver, Susan. "Pornographic Pedagogies?: The Risks of Teaching ‘Dirrty’ Popular Cultures." M/C Journal 7, no. 4 (2004). http://dx.doi.org/10.5204/mcj.2383.

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Uhh, dirrty Filthy Nasty (too dirrty to clean my act up If you ain’t dirrty .. you ain’t here to party)—Christina Aguilera “DIRRTY” The teacher engaged in a pedagogy which requires some articulation of knowledge forms and pleasures integral to students’ daily life is walking a dangerous road.—Henry Giroux and Roger Simon, “Schooling, Popular Culture and a Pedagogy of Possibility” Pornography and pedagogy have been positioned as mutually exclusive domains within educational discourses that seek to regulate the borders between rational knowledge and sexually lewd commercial imagery. Yet these re

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Bond, Sue. "Heavy Baggage: Illegitimacy and the Adoptee." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.876.

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Teichman notes in her study of illegitimacy that “the point of the legitimate/illegitimate distinction is not to cause suffering; rather, it has to do with certain widespread human aims connected with the regulation of sexual activities and of population” (4). She also writes that, until relatively recently, “the shame of being an unmarried mother was the worst possible shame a woman could suffer” (119). Hence the secrecy, silences, and lies that used to be so common around the issue of an illegitimate birth and adoption.I was adopted at birth in the mid-1960s in New Zealand because my mother

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