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Artículos de revistas sobre el tema "Contemporary Canadian Theatre"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 1 de febrero de 2022

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1

Lister, Rota Herzberg. "Anton Wagner ed. Contemporary Canadian Theatre: New World Visions." Theatre Research in Canada 11, no. 1 (1990): 105–8. http://dx.doi.org/10.3138/tric.11.1.105.

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2

Drennan, Barbara. "Theatre History-Telling: New Historiography, Logic and the Other Canadian Tradition." Theatre Research in Canada 13, no. 1 (1992): 46–62. http://dx.doi.org/10.3138/tric.13.1.46.

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A proliferation of sign-posts' dot the landscape of our contemporary discourse: 'postmodernism,' 'poststructuralism,' 'postcolonialism,' 'postindustrial'.... As we wearily anticipate yet another 'post' on the horizon, it becomes clear that what theatre researchers are experiencing is a significant epistemological shift which reflects a changing reality. Any change in the philosophy of knowledge will have a bearing on Theatre Historiography in Canada as elsewhere. This essay addresses this issue and outlines an 'other' theatre historiography which weaves the theories of Harold Innis and Marshal

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3

Duchesne, Scott. ""A Golf Club for the Golden Age": English Canadian Theatre Historiography and the Strange Case of Roy Mitchell." Theatre Research in Canada 18, no. 2 (1997): 131–47. http://dx.doi.org/10.3138/tric.18.2.131.

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This article contends that through the work of academics committed to recording and discussing the efforts of the alternate theatre movement, the narrative of English Canadian theatre history was subsequently revised. As a result, two suppositions were established which form the implicit basis of much research into contemporary English Canadian theatre history. They are: (1) the significant development of an English Canadian dramatic literature by a movement of professional and postcolonial theatre-makers signaled the theatre's "coming of age", and therefore (2) a specific set of events from 1

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4

Lampe, Eelka. "Disruptions in Representation: Anne Bogart's Creative Encounter with East Asian Performance Traditions." Theatre Research International 22, no. 2 (1997): 105–10. http://dx.doi.org/10.1017/s0307883300020514.

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The avant-garde theatre director Anne Bogart has made her name in the U.S. theatre community through her deconstructions of modern classics such as the musical South Pacific (1984), Cinderella/Cendrillon (1988) after Massenet's opera, Büchner's Danton's Death (1986), Gorki's Summerfolk (1989), William Inge's Picnic (1992), as well as through her idiosyncratic and original dance/theatre ‘compositions’ developed collabortively with her company, the Saratoga International Theater Institute (SITI). Prominent among such compositions have been 1951 (1986) on art and politics during the McCarthy era,

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5

Harvie, Jennifer, and Richard Paul Knowles. "Dialogic Monologue: A Dialogue." Theatre Research in Canada 15, no. 2 (1994): 136–63. http://dx.doi.org/10.3138/tric.15.2.136.

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Michael Sidnell has drawn attention to the potential for dramatic monologue to be dialogic in ways that dialogue in the theatre rarely is, and he has pointed to a recent proliferation of dialogic monologue in Canadian theatre. This essay will examine the potentially dialogic function of monologue in some contemporary Canadian plays. Questions central to this examination will be: when is monologue dialogic, and what are the effects of dialogic monologue? Considering that the actor often stands indexicallyfor an autonomous subject which is easily conflated with the character the actor is playing

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6

Keeney, Patricia, and Don Rubin. "Canada's Stratford Festival: Adventures Onstage and Off." New Theatre Quarterly 25, no. 2 (2009): 187–94. http://dx.doi.org/10.1017/s0266464x09000281.

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The festival season in Stratford, Ontario, was fraught with an offstage drama which seemed to reprise that of thirty years ago, when an experiment with a triumviral directorate ended in dissension and near disaster. However, once the dust had settled, an interestingly balanced season emerged, mixing Shakespeare and Shaw, ancient Greek and modern tragedy, Beckett and balletic Moby Dick. Here Patricia Keeney and Don Rubin offer their assessment of a wide-ranging repertoire. Patricia Keeney is a poet, novelist and long-time theatre critic for the monthly journal Canadian Forum. She is a Professor

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7

Partington, Richard. "The Jupiter Theatre's Canadian Content and the Critics, 1951-1954." Theatre Research in Canada 18, no. 1 (1997): 59–88. http://dx.doi.org/10.3138/tric.18.1.59.

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The Jupiter Theatre (1951-54) was founded by actors Lorne Greene and John Drainie, and writer Len Peterson, who sought to establish a fully professional company in Toronto dedicated to the encouragement of Canadian playwrights, and the "emergence of a truly Canadian voice in the theatre." Their ideals were shared by the nationalist local radio critic Nathan Cohen. Of the fifteen plays produced during Jupiter's brief but significant lifetime four were Canadian-written: Socrates and The Blood Is Strong by Lister Sinclair, The Money Makers by Ted Allan and Blue Is for Mourning by Nathan Cohen. I

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8

Karpinski, Eva C. "Can Multilingualism Be a Radical Force in Contemporary Canadian Theatre? Exploring The Option of Non-Translation." Theatre Research in Canada 38, no. 2 (2017): 153–67. http://dx.doi.org/10.3138/tric.38.2.153.

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Recognizing the richness of multilingual theatre in Canada, this article argues that the choice of nontranslation as the absolute staging of multilingual hospitality carries the promise of a more radical cohabitation and offers both critical and reparative encounters with bodies that resist mainstream recuperation. Beyond multicultural accommodation of diversity, non-translation as a politicized choice is examined through examples chosen from contemporary Asian Canadian and Afro-Caribbean Canadian drama, as well as Indigenous performance. Specifically, the article analyzes the deployment of mu

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9

Meerzon, Yana. "From melancholic to happy immigrant: Staging simpleton in the comedies of migration." Performing Ethos: International Journal of Ethics in Theatre & Performance 9, no. 1 (2019): 23–35. http://dx.doi.org/10.1386/peet_00003_1.

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Abstract This article examines devices of comedy, laughter and dramatic humour as technologies of ethics when it comes to staging migration in contemporary theatre. Looking at a tragic farce Hunting Cockroaches (1985), written by the Polish theatre artist Janusz Głowacki during his American exile, and a domestic melodrama Kim's Convenience (2012), written by a Korean Canadian Ins Choi, this article examines comedy as a particular dramatic model that can challenge staging migrants as agentless and voiceless victims. It asks, what happens when theatre artists begin to use stereotype to stage the

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10

McLeod, Kimberley. "Finding the New Radical: Digital Media, Oppositionality, and Political Intervention in Contemporary Canadian Theatre." Theatre Research in Canada 35, no. 2 (2014): 203–20. http://dx.doi.org/10.3138/tric.35.2.203.

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11

Scott, Shelley. "Performing Canada: The Nation Enacted in the Imagined Theatre, and: Performing National Identities: International Perspectives on Contemporary Canadian Theatre (review)." University of Toronto Quarterly 74, no. 1 (2004): 345–47. http://dx.doi.org/10.1353/utq.2005.0205.

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12

Walker, Craig S. "The Theatre of Form and the Production of Meaning: Contemporary Canadian Dramaturgies by Ric Knowles." ESC: English Studies in Canada 28, no. 1 (2002): 145–50. http://dx.doi.org/10.1353/esc.2002.0088.

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13

HARRISON, KLISALA. "Sustainability and Indigenous Aesthetics: Musical Resilience in Sámi and Indigenous Canadian Theatre." Yearbook for Traditional Music 51 (November 2019): 17–48. http://dx.doi.org/10.1017/ytm.2019.6.

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Histories of colonial cultural erasure, unsuccessful decolonisation or postcolonialism and rapid modernisation are typically seen as the challenges to sustaining Indigenous traditional musics (Harrison, in press). The Indigenous peoples of Canada have experienced colonial assimilationist policies of government and church, including residential schools that took children away from their families and forbade song, dance and language. These policies resulted in musics and even entire cultures being erased. Although there have been recent improvements in Scandinavia, similar kinds of discriminatio

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14

Barton, Bruce. "Redefining Community: The Elusive Legacy of The Dramatists' Co-op of Nova Scotia." Theatre Research in Canada 21, no. 2 (2000): 99–115. http://dx.doi.org/10.3138/tric.21.2.99.

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By many indications, playwriting in the Canadian Maritime provinces (Nova Scotia, New Brunswick, and Prince Edward Island) has never been more accomplished, diverse, and energetic. At the same time, however, many dramatists in this region experience a distinct and, for some, defining sense of isolation and disconnection from the rest of the country, particularly in terms of production opportunities beyond the East Coast. Aware of the limitations of local production, however enthusiastic the support of regional theatre companies and groups, a significant number of Maritimes playwrights lament t

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15

París Romia, Gemma. "Jeff Wall, Pintor de la Vida Posmoderna." Barcelona Investigación Arte Creación 4, no. 3 (2016): 300. http://dx.doi.org/10.17583/brac.2016.1761.

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Through the work of Jeff Wall (Vancouver, 1946), we will see the rich relationships that the Canadian artist establish between photographic media and other art forms such as painting, theatre and cinema. Although Wall’s images are photographs, they are built from complex relations with Western pictorial tradition, with the gestures of theatrical act and with the construction of narrative cinema. These relationships with the various languages of art create mysterious images that tell us about our contemporary society, creating a space halfway between reality and fiction.

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16

Godard, Barbara. "Writing Between Cultures." TTR : traduction, terminologie, rédaction 10, no. 1 (2007): 53–99. http://dx.doi.org/10.7202/037280ar.

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Abstract Writing Between Cultures — This essay examines the traffic in languages or systematic interferences, the tropes of translation whereby the network of the Canadian literary system is produced. It focuses on two moments in that process, one whereby Canadian literatures are produced as Europe's other by vertical translation of Canadian concepts into classical languages and an erasure of horizontal translation among Amerindian languages as manifest in the writing of colonization, especially in the work of Marie de l'Incarnation. The second is the contemporary period where the theatre of c

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17

Gilbert, Helen. "Black and White and Re(a)d All Over Again: Indigenous Minstrelsy in Contemporary Canadian and Australian Theatre." Theatre Journal 55, no. 4 (2003): 679–98. http://dx.doi.org/10.1353/tj.2003.0164.

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18

Pavlovic, Diane. "En collaboration, Contemporary Canadian Theatre. New World Visions, Anton Wagner, Editor, Simon & Pierre, Toronto, 1985, 411 p., ill." Études littéraires 18, no. 3 (1985): 235. http://dx.doi.org/10.7202/500731ar.

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19

Barton, Bruce. "Theater sans frontieres: Essays on the Dramatic Universe of Robert Lepage, and: The Theatre of Form and the Production of Meaning: Contemporary Canadian Dramaturgies (review)." Theatre Journal 57, no. 2 (2005): 323–25. http://dx.doi.org/10.1353/tj.2005.0047.

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20

Ripley, John. "The Theatre of Form and the Production of Meaning: Contemporary Canadian Dramaturgies. By Ric Knowles. Toronto: ECW Press, 1999. Pp. 288. $19.95 Pb." Theatre Research International 27, no. 2 (2002): 213–26. http://dx.doi.org/10.1017/s0307883302320285.

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21

Houle, Gabrielle. "Dramaturgy of the Body: Marcello Moretti's Construction of Arlecchino at the Piccolo Teatro of Milan." New Theatre Quarterly 34, no. 2 (2018): 130–44. http://dx.doi.org/10.1017/s0266464x18000040.

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In this article Gabrielle Houle examines the dramaturgical process that actor Marcello Moretti applied to his creation of Arlecchino's body in Giorgio Strehler's globally acclaimed productions of The Servant of Two Masters at the Piccolo Teatro of Milan between 1947 and 1960. She provides a critical analysis of Moretti's interdisciplinary and trans-historical research and creative process, including his study of iconographic representations of the commedia dell’arte, his observation of farmers in Padua in the mid-twentieth century, and the connections he made between his life experiences and h

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22

Cărbunariu, Gianina, and Bonnie Marranca. "The Reality of Fiction." PAJ: A Journal of Performance and Art 38, no. 2 (2016): 112–22. http://dx.doi.org/10.1162/pajj_a_00323.

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In the last decade, the playwright and director Gianina Cărbunariu has become one of the prominent young voices in contemporary European theatre. Mihaela, the Tiger of Our Town, which premiered at the Royal Dramatic Theatre in Stockholm, will be performed at the 2016 Avignon festival by Sweden's Jupither Josephsson Company. Other plays include Stop the Tempo, For Sale, Typographic Letters, Solitarity, Metro is Everywhere, and mady-baby.edu (later titled Kebab). The plays have been translated into more than fifteen languages, and they have been performed in Romanian cities and in theatres acros

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23

Grace, Sherrill E. "The Living Soul of Man: Bertram Brooker and Expressionist Theatre." Theatre Research in Canada 6, no. 1 (1985): 3–22. http://dx.doi.org/10.3138/tric.6.1.3.

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In 1935 and 1936, Herman Voaden produced two expressionistic plays by Bertram Brooker, Within and The Dragon. These two plays provide interesting insight into avant-garde theatre in Canada in the thirties and reveal yet another artistic side of the versatile Brooker. Furthermore, these plays demonstrate Brooker's familiarity with contemporary European theatre and with mysticism, and they can be usefully compared with plays by Evreinov and Andreev.

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24

Olsson, Michael. "Making Sense of Shakespeare: a Cultural Icon for Contemporary Audiences." Cosmopolitan Civil Societies: An Interdisciplinary Journal 5, no. 3 (2013): 14–31. http://dx.doi.org/10.5130/ccs.v5i3.3640.

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The works of William Shakespeare are more popular in the 21st century than ever before, Why are theatre and audiences around the globe still drawn to his work? How do they make sense of these texts in ways that resonate with their cosmopolitan, contemporary audiences? This article uses the findings of a study interviewing 35 theatre professionals in Canada, Finland and the United Kingdom to explore these issues. Theoretically and methodologically, it is a bricollage, drawing on a range of approaches including Foucault’s discourse analysis, Hobsbawm’s invented traditions and Dervin’s Sense-Maki

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25

Lymer, Madison. "In Search of ‘Good’ Theatre: Historical Ideals of Quality in Contemporary Times." Inquiry@Queen's Undergraduate Research Conference Proceedings, May 24, 2018. http://dx.doi.org/10.24908/iqurcp.11777.

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The success of a play or work of theatre is based largely upon the reactions of audiences. Audiences collectively decide whether a play is ‘good’ or ‘bad’ and this dictates what shows are produced and who with. If audiences hold the power to say what experiences and who is tolerable on stage, then they also have the ability to dictate who is intolerable. This ability is capable of creating an exclusive environment where some stories are not told, and some people are less welcome than others on the stage. These ideals of ‘good’ are based on long standing value systems derived from theatre histo

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26

Schallegger, René Reinhold. "Flying? Falling? – Conflicting Representations of Disability in Kevin Kerr’s Skydive (2007) and Brad Fraser’s Kill Me Now (2013)." Journal of Contemporary Drama in English 5, no. 2 (2017). http://dx.doi.org/10.1515/jcde-2017-0030.

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AbstractCanadian contemporary theatre is defined by a preponderance of previously marginalised discourses such as Feminist drama, First Nations drama, or Queer drama. The centre to periphery dispersal that has driven the Canadian cultural scene since the Massey Commission’s final report (1951) has favoured the rise of these traditions into public awareness. At the same time, the voice of disabled persons is hardly ever heard on Canadian stages. This paper takes a closer look at two recent texts, Kevin Kerr’sAfter a concise review of critical texts on disability studies, disability theatre, and

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27

Manderson, Derek. "The Guide: An Emerging Role in Participatory Theatre." Inquiry@Queen's Undergraduate Research Conference Proceedings, April 15, 2020. http://dx.doi.org/10.24908/iqurcp.14059.

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As Canadian culture continues to grow an obsession with individualism in the era of the selfie, theatre has similarly found a new focus in shifting the spotlight from the stage to the audience. The result of such interests is participatory theatre, which reimagines the audience as players in a shared experience. In an evolving form of performance, audience members abandon the darkened theatre seats and the comfort of passivity in favour of agency. While thrilling, this radical shift in perspective is often accompanied by intense feelings of fear and insecurity. How can anyone be a “good” parti

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28

Gallagher, Kathleen, Scott Mealey, and Kelsey Jacobson. "Accuracy and Ethics, Feelings and Failures: Youth Experimenting with Documentary Practices of Performing Reality." Theatre Research in Canada 39, no. 1 (2019). http://dx.doi.org/10.7202/1055468ar.

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For young artists and their educators, the adoption of documentary theatre practices can be deeply appealing given their seemingly privileged capacity to truthfully represent the multi-faceted realities of contemporary life. The often ubiquitous impulse, however, toward straightforward, narrative representations may in fact betray the reality (felt and lived) that young people seek to earnestly convey. This article, drawing on three different examples of youth engagement with documentary and oral history theatre techniques in the cities of Toronto (Canada) and Tainan (Taiwan), explores how you

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29

Groeneveld, Leanne. "Nineteenth- and Early Twentieth-Century Representations of the Oberammergau Passion Play: Heredity, Eugenic Theatre, and “Epic Selection”." Theatre Survey, December 21, 2020, 1–22. http://dx.doi.org/10.1017/s0040557420000484.

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The Oberammergau Passion Play became internationally famous in the latter half of the nineteenth century. Beginning in the 1840s and 1850s and through the early twentieth century, English-speaking foreign tourists from Ireland and the United Kingdom, the United States, Canada, and even Australia published a surprising number and variety of accounts of travel to the village and attendance at the Passion Play. Professional and amateur historians described the production as an evolutionary throwback or curious hybrid of ancient Greek and medieval theatre, regarding it as an object and event of an

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30

Mullins, Kimberley. "The Voting Audience." M/C Journal 11, no. 1 (2008). http://dx.doi.org/10.5204/mcj.23.

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Political activity is expected to be of interest to a knowledgeable electorate, citizenry or ‘public’. Performance and entertainment have, on the other hand, been considered the domain of the ‘audience’. The line between active electorate and passive audience has been continually blurred, and as more political communication is designed along the lines of entertainment, the less likely it seems that the distinction will become clearer any time soon. The following article will attempt to thoroughly evaluate the contemporary implications of terms related to ‘public’ and ‘audience’, and to suggest

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31

Mullins, Kimberley. "The Voting Audience." M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2716.

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   Political activity is expected to be of interest to a knowledgeable electorate, citizenry or ‘public’. Performance and entertainment have, on the other hand, been considered the domain of the ‘audience’. The line between active electorate and passive audience has been continually blurred, and as more political communication is designed along the lines of entertainment, the less likely it seems that the distinction will become clearer any time soon. The following article will attempt to thoroughly evaluate the contemporary implications of terms related to ‘public’ and ‘audi

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32

Casado-Gual, Núria. "Joanna McClelland Glass’ Mrs. Dexter and Her Daily and the Inter-play among Age, Gender and Class." Canada and Beyond: A Journal of Canadian Literary and Cultural Studies 5 (May 5, 2016). http://dx.doi.org/10.33776/candb.v5i0.3024.

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Following the so-called revolution of longevity, which was initiated after the Second World War, and as a result of recent scientific and social changes, multidisciplinary studies of old age, aging and ageism have increasingly been regarded as a necessity in our contemporary developed -and aged- societies. Consequently, and together with gender, class and ethnicity, age has become a prominent social and cultural marker which is explored by different discourses both as an ever-changing site of identity, and as a potential source of social discrimination. Cultural representations of aging have c

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33

Lavers, Katie. "Cirque du Soleil and Its Roots in Illegitimate Circus." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.882.

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IntroductionCirque du Soleil, the largest live entertainment company in the world, has eight standing shows in Las Vegas alone, KÀ, Love, Mystère, Zumanity, Believe, Michael Jackson ONE, Zarkana and O. Close to 150 million spectators have seen Cirque du Soleil shows since the company’s beginnings in 1984 and it is estimated that over 15 million spectators will see a Cirque du Soleil show in 2014 (Cirque du Soleil). The Cirque du Soleil concept of circus as a form of theatre, with simple, often archetypal, narrative arcs conveyed without words, virtuoso physicality with the circus artists prese

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34

Downing, Leanne. "Sensory Jam." M/C Journal 9, no. 6 (2006). http://dx.doi.org/10.5204/mcj.2685.

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   Sticky, messy and nauseatingly saccharine, the sensory properties of jam may be a long way from the stylized corporate polish of Australia’s multi-billion dollar film exhibition industry, yet the history of Australian cinema space will be forever indebted to the Victoria Preserving Company; one-time producer of the humblest of sweet treats. Through an analysis of Melbourne’s Jam Factory cinema complex, this article explores the unusual intersection of jam, sensory gratification and contemporary Australian cinema-going at the dawn of the 21st century. Encompassing the histo

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35

McKenzie-Craig, Carolyn Jane. "Performa Punch: Subverting the Female Aggressor Trope." M/C Journal 23, no. 2 (2020). http://dx.doi.org/10.5204/mcj.1616.

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The bodies of disordered women … offer themselves as an aggressively graphic text for the interpreter—a text that insists, actually demands, that it be read as a cultural statement, a statement about gender. (Bordo, 94)Violence is transgressive in fundamental ways. It erases boundaries, and imposes agency over others, or groups of others. The assumed social stance is to disapprove, morally and ethically, as a ‘good’ and ‘moral’ female subject. My current research has made me question the simplicity of this approach, to interrogate how aggression socialises power and how resistance to structura

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36

Pace, John. "The Yes Men." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2190.

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In a light-speed economy of communication, the only thing that moves faster than information is imagination. And in a time when, more than ever before, information is the currency of global politics, economics, conflict, and conquest what better way to critique and crinkle the global-social than to combine the two - information and imagination - into an hilarious mockery of, and a brief incursion into the vistas of the globalitarian order. This is precisely the reflexive and rhetorical pot-pourri that the group 'the Yes Men' (www.theyesmen.org) have formed. Beginning in 2000, the Yes Men descr

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37

Acland, Charles. "Matinees, Summers and Opening Weekends." M/C Journal 3, no. 1 (2000). http://dx.doi.org/10.5204/mcj.1824.

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Newspapers and the 7:15 Showing Cinemagoing involves planning. Even in the most impromptu instances, one has to consider meeting places, line-ups and competing responsibilities. One arranges child care, postpones household chores, or rushes to finish meals. One must organise transportation and think about routes, traffic, parking or public transit. And during the course of making plans for a trip to the cinema, whether alone or in the company of others, typically one turns to locate a recent newspaper. Consulting its printed page lets us ascertain locations, a selection of film titles and thei

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38

Sotelo-Castro, Luis Carlos. "Participation Cartography: The Presentation of Self in Spatio-Temporal Terms." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.192.

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In this paper, I focus on disclosures by one participant as enabled by a kind of artistic practice that I term “participation cartography.” By using “participation cartography” as a framework for the analysis of Running Stitch (2006), a piece by Jen Southern (U.K.) and Jen Hamilton (Canada), I demonstrate that disclosures by participants in this practice are to be seen as a form of self-mapping that positions the self in relation to a given performance space. These self-positionings present the self in spatio-temporal terms and by means of performative narratives that re-define the subject fro

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Macken, Marian. "And Then We Moved In." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2687.

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   Working drawings are produced, when a house is designed, to envisage an imagined building. They are a tangible representation of an object that has no tangible existence. These working drawings act as a manual for constructing the house; they represent that which is to be built. The house comes into being, therefore, via this set of drawings. This is known as documentation. However, these drawings record the house at an ideal moment in time; they capture the house in stasis. They do not represent the future life of the house, the changes and traces the inhabitants make upo

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40

Hadley, Bree, and Rebecca Caines. "Negotiating Selves: Exploring Cultures of Disclosure." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.207.

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If identity is a construct—and, more critically, a construct defined and developed through relationships with others in public and private spheres—then an understanding of the processes, mechanisms and platforms by which individuals disclose information about themselves is crucial in understanding the way identity, community and culture function, and the way individuals can intervene in the functioning of culture.In this issue of M/C Journal, contributors from the U.S., U.K., and Australia consider the personal, professional and social consequences of disclosure in autobiographical art, commun

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41

Boler, Megan. "The Transmission of Political Critique after 9/11: “A New Form of Desperation”?" M/C Journal 9, no. 1 (2006). http://dx.doi.org/10.5204/mcj.2595.

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   Investigative journalist Bill Moyers interviews Jon Stewart of The Daily Show: MOYERS: I do not know whether you are practicing an old form of parody and satire…or a new form of journalism. STEWART: Well then that either speaks to the sad state of comedy or the sad state of news. I can’t figure out which one. I think, honestly, we’re practicing a new form of desperation…. July 2003 (Bill Moyers Interview of Jon Stewart, on Public Broadcasting Service)   Transmission, while always fraught and ever-changing, is particularly so at a moment

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42

Stewart, Jon. "Oh Blessed Holy Caffeine Tree: Coffee in Popular Music." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.462.

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Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities li

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Lawson, Jenny. "Food Confessions: Disclosing the Self through the Performance of Food." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.199.

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At the end of the episode “Crowd Pleasers,” from her television series Nigella Feasts, we see British food writer and television cook Nigella Lawson in her nightgown opening her fridge in the dark. The fridge light reveals the remnant dishes of chili con carne that she prepared earlier on in the programme. She scoops up a dollop of soured cream and chili onto a spoon and shovels it into her mouth, nods approvingly and then picks up the entire chili dish. She eats another mouthful, utters a satisfied “umm” sound, closes the fridge door and walks away, taking the dish of chili with her. This rec

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Hartman, Yvonne, and Sandy Darab. "The Power of the Wave: Activism Rainbow Region-Style." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.865.

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Introduction The counterculture that arose during the 1960s and 1970s left lasting social and political reverberations in developed nations. This was a time of increasing affluence and liberalisation which opened up remarkable political opportunities for social change. Within this context, an array of new social movements were a vital ingredient of the ferment that saw existing norms challenged and the establishment of new rights for many oppressed groups. An expanding arena of concerns included the environmental damage caused by 200 years of industrial capitalism. This article examines one as

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Meleo-Erwin, Zoe C. "“Shape Carries Story”: Navigating the World as Fat." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.978.

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Story spreads out through time the behaviors or bodies – the shapes – a self has been or will be, each replacing the one before. Hence a story has before and after, gain and loss. It goes somewhere…Moreover, shape or body is crucial, not incidental, to story. It carries story; it makes story visible; in a sense it is story. Shape (or visible body) is in space what story is in time. (Bynum, quoted in Garland Thomson, 113-114) Drawing on Goffman’s classic work on stigma, research documenting the existence of discrimination and bias against individuals classified as obese goes back five decades.

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Hopkins, Lekkie. "Articulating Everyday Catastrophes: Reflections on the Research Literacies of Lorri Neilsen." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.602.

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Lorri Neilsen, whose feature article appears in this edition of M/C Journal, is Professor of Education at Mount Saint Vincent University in Halifax, Nova Scotia, Canada. Neilsen has been teaching and researching in literacy studies for more than four decades. She is internationally recognised as a poet and as an arts-based research methodologist specialising in lyric inquiry. In the latter half of this last decade she was appointed for a five year term to be the Poet Laureate for Nova Scotia. As an academic, she has published widely under the name of Lorri Neilsen; as a poet, she uses Lorri Ne

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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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Hadley, Bree Jamila, and Sandra Gattenhof. "Measurable Progress? Teaching Artsworkers to Assess and Articulate the Impact of Their Work." M/C Journal 14, no. 6 (2011). http://dx.doi.org/10.5204/mcj.433.

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The National Cultural Policy Discussion Paper—drafted to assist the Australian Government in developing the first national Cultural Policy since Creative Nation nearly two decades ago—envisages a future in which arts, cultural and creative activities directly support the development of an inclusive, innovative and productive Australia. "The policy," it says, "will be based on an understanding that a creative nation produces a more inclusive society and a more expressive and confident citizenry by encouraging our ability to express, describe and share our diverse experiences—with each other and

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