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Artykuły w czasopismach na temat „Cut-up poetry”

Autor: Grafiati

Data publikacji: 18 września 2024

Data aktualizacji: 31 lipca 2025

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1

Hare, Kathleen (Kaye) A. "“Institutionalized States of Information Abstinence”." Art/Research International: A Transdisciplinary Journal 6, no. 2 (2021): 415–41. http://dx.doi.org/10.18432/ari29540.

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In this study, I provide applied examples of using cut-up poetic inquiry as an arts-based research method for analyzing erasure poetry. The erasure poetry was composed by five poet-participants and me during a sensory ethnography that explored embodied experiences of a sexual educator training program. I first overview erasure poetics in the context of sexuality education. I explain how erasure poetry as method can interrupt authoritative proclamations of truth, while also providing a technique to grapple with complex, corporeal data – central topics in sex education research. I then theorize

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Turner, Ashley R., Roque Anthony F. Velasco, Kathleen Oman, and Karen H. Sousa. "Aesthetic Knowing: Cut-Ups and Haiku Poems." Nursing Science Quarterly 36, no. 2 (2023): 181–85. http://dx.doi.org/10.1177/08943184221150263.

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Enhancing course design and pedagogy to encourage engagement and creativity is fundamental in doctoral education. Using poetry is an innovative way to enrich nursing education through aesthetic knowing. The authors in this paper aim to describe an educational exercise utilizing the Cut-Up Method to create haiku poems. PhD nursing students used the Cut-Up Method to produce haiku poems describing the meaning of nursing science. Themes from the haiku poems include relationship building, caring and caring relationships, and the evolution of nursing. Learning activities promote aesthetic knowing to

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Stokes, Jessica Suzanne. "Suturing language: cut-up poetry as part of crip, ecological close-reading/writing." Changing English 32, no. 1 (2025): 93–102. https://doi.org/10.1080/1358684x.2024.2439884.

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Miloykovitch, Vladimir Vladda. "The Art of Vanishing." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 5, no. 1 (2017): 90. http://dx.doi.org/10.14195/2182-8830_5-1_18.

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The audio poetry mix titled "Umetnost Gubljenja" (The Art of Losing / Vanishing) uses cut-up technique in order to mix and adjust the text of the poem "Umetnost Gubljenja" to the audio poetry form. An unknown program was used for mixing in this totally homemade art work, authored by Vladimir Milojković (sometimes published under the name Vladimir Vladda Miloykovitch). The mix is 6 minutes and 35 seconds long, mono sound, mp3 format. Conceptually, it is, in a certain way, socially engaged poetry, questioning the role of art in the modern world. Effects influencing the listeners were achieved th

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Petievich, Carla, and Max Stille. "Emotions in performance: Poetry and preaching." Indian Economic & Social History Review 54, no. 1 (2017): 67–102. http://dx.doi.org/10.1177/0019464616683481.

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Emotions are largely interpersonal and inextricably intertwined with communication; public performances evoke collective emotions. This article brings together considerations of poetic assemblies known as ‘mushāʿira’ in Pakistan with reflections on sermon congregations known as ‘waʿz mahfil’ in Bangladesh. The public performance spaces and protocols, decisive for building up collective emotions, exhibit many parallels between both genres. The cultural history of the mushāʿira shows how an elite cultural tradition has been popularised in service to the modern nation state. A close reading of th

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Babnis, Tomasz. "The River Araxes in the Roman Poetry." Classica Cracoviensia 22 (October 29, 2020): 7–46. http://dx.doi.org/10.12797/cc.20.2019.22.01.

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The River Araxes In the Roman Poetry The Araxes flowing through the Armenian Highlands was one of the rivers mentioned quite often in Roman poetry from the Augustan Age up to the 5th century. In line with the traditional tendency of classical literature, the Araxes was usually shown as a pars pro toto of a country, in this case Armenia, which was one of the aims of the Roman eastern policy and the object of rivalry between the Empire and Parthia/Persia. The great majority of references to the Araxes was connected with the theme of Roman expansion in the East (especially with the campaign

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Izenson, Andy. "“… that which wishes to articulate itself in you”." Religion and the Arts 27, no. 1-2 (2023): 230–53. http://dx.doi.org/10.1163/15685292-02701003.

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Abstract Jewish anarchist mysticism weaves elusively through the worlds of art, politics, and religion, informing all three with the concept of do’ikayt, or “hereness.” This essay will bring together threads of the Jewish roots of the Dada and Surrealist movements as they burst into queerness with the work of Claude Cahun, William S. Burroughs, and Genesis Breyer P-Orridge, and examine in particular the cut-up method as employed by those artists across media before examining an application of the same method to a pantheist Jewish transness through the mystical practice of gender confirmation s

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Kazlauskaitė, Rūta. "The mental image of lightning in Lithuanian poetry." Lietuvių kalba, no. 12 (December 15, 2018): 1–27. http://dx.doi.org/10.15388/lk.2018.22516.

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The aim of the present article is to compose and to evaluate the image of lightning that has been formed in Lithuanian poetry. The fragments of 148 poets’ 509 poems have been analysed. In the poetical worldview lightning is active. It is natural energy. It naturally manifests itself during the warm season and time of day (at evening, at night). Lightning usually acts as a living being (a human being, a reptile, less often as a bird or an ungulate), a plant or as a part of the body of a living being or a plant, an instrument of a living being. Less often lightning manifests itself as fire, wate

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Wilcox, David. "The Clothing of a Regency Poet, Lord Byron (1788–1824)." Costume 55, no. 2 (2021): 212–39. http://dx.doi.org/10.3366/cost.2021.0200.

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Byron was a best-selling poet and a celebrity with a notorious reputation. This article seeks to examine how his public image and private person were related, the part clothing played in the projection of his public image, and the degree of control he exerted over his body and his self-image. The article examines a number of sources relating to Lord Byron — his journals and letters, his poetry and public output, biographies, bills and accounts, paintings and illustrations, and the surviving clothing associated with the poet. From these a clothing narrative of the poet's early life, up until th

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Torres Núñez del Prado, Paola. "AIELSON: A neural spoken-word poetry generator with a distinct South American voice." Journal of Interdisciplinary Voice Studies 7, no. 1 (2022): 11–33. http://dx.doi.org/10.1386/jivs_00052_1.

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Human‐computer interaction will soon be framed as a dialogue in-between two agents, rather than the imposition of the needs and desires of the human entity over the inert machine. As the latter become seemingly more intelligent, we will witness how they reshape art, knowledge and society in general even more in the not-so-distant future. In this framework, decolonization of their algorithms becomes imperative so as not to reproduce the ethnic and cultural biases that prevail in contemporary human society. By using a pre-trained transformer-based language model (GPT-2) (Radford et al. 2019a), r

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Chattopadhyay, Arka. "Plastic Onto-Logic of Relation and Non-Relation: Ghosh avec Malabou." Interdisciplinary Literary Studies 27, no. 1 (2025): 95–111. https://doi.org/10.5325/intelitestud.27.1.0095.

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ABSTRACT This article connects Ranjan Ghosh’s arguments on the plastic matter in The Plastic Turn (2022) with Catherine Malabou’s work on plasticity. It compares the logic of plastic matter with the notion of plasticity as not only giving and receiving of forms but also as decimation of forms. The article shows how the relation between plastic matter and plasticity encounters a dialectical tension when Malabou’s “destructive plasticity” as a logic of non-relation is juxtaposed with the structure of plastic hyper-relationality in Ghosh. Malabou’s idea of “destructive plasticity” underscores the

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Roy, Sydnor. "HOMERIC CONCERNS: A METAPOETIC READING OF LUCRETIUS, DE RERUM NATURA 2.1–19." Classical Quarterly 63, no. 2 (2013): 780–84. http://dx.doi.org/10.1017/s0009838813000256.

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Suave, mari magno turbantibus aequora ventise terra magnum alterius spectare laborem;non quia vexari quemquamst iucunda voluptas,sed quibus ipse malis careas quia cernere suave est.suave etiam belli certamina magna tueri 5per campos instructa tua sine parte pericli.sed nil dulcius est, bene quam munita tenereedita doctrina sapientum templa serena,despicere unde queas alios passimque videreerrare atque viam palantis quaerere vitae, 10certare ingenio, contendere nobilitate,noctes atque dies niti praestante laboread summas emergere opes rerumque potiri.o miseras hominum mentes, o pectora caeca!qu

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IAQ, Center of Excellence in Research. "Faiz Ahmed Faiz: Analysis of Politics and Poetry." INternational Journal of Art, Culture and Communication Volume 02, Issue 02 (2024): 14–27. https://doi.org/10.5281/zenodo.10616991.

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<em>Ralph Russell looks at different aspects of Faiz's life and concludes that Faiz replicated his attitude in poetry, life, and politics. Faiz desired a luxurious life and the same can be reflected in his poetry and social interaction. Russell shares that Faiz desired praise and, a comfortable life while concealing facts should not be the attitude of a progressive person. Russell was told that in practical life Faiz had nothing to do with the depressed people and he never stepped in a muddy house. He only liked the floors “covered with the most expensive carpets.” Many literary pe

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Stewart, Dustin D. "Coupling Men in Couplet Space: Pope to Gunn." New Literary History 54, no. 2 (2023): 1113–41. http://dx.doi.org/10.1353/nlh.2023.a907161.

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Abstract: Donald davie, a serious man, had serious doubts, but his friend Thom Gunn kept assuring him that contemporary poetry could be at once really gay and really traditional. Gunn thought so partly because several major poets who helped forge the tradition as he and Davie knew it, poets such as Christopher Marlowe and Walt Whitman, were themselves gay.1 He also thought so, as his recently published letters confirm, because of his counterintuitive conviction that historical poetic techniques can enhance "improvisatory and up-to-date subject matter."2 Free verse caught the sensation of moder

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Vilchinskaya-Butenko, M. E. "SAMO AS AN ARTISTIC “I” BY JEAN-MICHEL BASQUIAT." Bulletin of the South Ural State University Series «Social Sciences аnd the Humanities» 24, no. 2 (2024): 50–57. http://dx.doi.org/10.14529/ssh240206.

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This article is based on the biography of Jean-Michel Basquiat using the historicalbiographical and inductive method and proves the decisive importance of the early, pre-gallery stage of the artist’s work for the formation and further development of the uniqueness of his style. The origins of the artist’s work are in street art and his artistic “I” was influenced not so much by the graffiti period of his biography with the attributes accompanying the graffiti movement (the choice of the nickname SAMO, going out on the streets of the city for the purpose of dialogue with the urban community), a

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Marjanić, Suzana. "Damir Bartol Indoš and Tanja Vrvilo — House of Extreme Music Theatre: Performative Translation of Croatian Neo/Avant-garde." Przekłady Literatur Słowiańskich 13 (July 18, 2023): 1–21. http://dx.doi.org/10.31261/pls.2023.13.09.

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DB Indoš and Tanja Vrvilo — House of Extreme Music Theater work with material from the Croatian historical avant-garde scene in all their performances of exhausting, physical theater, which they approached through the Zagreb circle of zenithists, “through Kamov and Čerina as predecessors of the Futurists (but not the Marinettists), and their influence on the literary-revolutionary circle of rebellious youth. Some of them included August Cesarec, Đuka Cvijić, Zora Ruklić and members of their ‘Republic of Stenjevac’, members of the Zagreb group Zenit, the lyrics of a visionary film through the b

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Guimarães, João Paulo. "Beyond the Pulp Vanguard: Bruce Andrews's Film Noir Series and the Dead-End of Escapist Experimentalism." CounterText 7, no. 3 (2021): 467–500. http://dx.doi.org/10.3366/count.2021.0247.

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Despite the fact that Bruce Andrews's interests cut across different aesthetic media, with concepts from music, dance and film many times determining the formal and conceptual contours of his compositions, scholars most often examine the latter as bona fide works of poetry. In this essay, we will attend to and flesh out the significance of Andrews's dialogue with the medium of cinema in two chronologically distant works: Film Noir (1978) and Swoon Noir (2007). I will contend that while Andrews uses the noir, in the first book, to attack the sensorially disabling nature of immersive art, in the

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Benjamin, Walter. "Notes on Baudelaire's Parisian Tableaux (1939)." October, no. 190 (2024): 81–94. https://doi.org/10.1162/octo_a_00521.

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Abstract Walter Benjamin's largely forgotten paper “Notes on Baudelaire's Parisian Tableaux,” written originally in French and translated into English for the first time here, was delivered at the Abbaye de Pontigny in May of 1939. It is a probable candidate for what he would have presented to the College of Sociology, organized by Georges Bataille and Roger Caillois in Paris, if the war had not cut things short. In this essay, Benjamin slightly diverges from his other work on Charles Baudelaire's poetry, focusing on allusions to the big city and its ethical, political, and social effects on m

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Varshika, Srivastava. "ECO FEMINISM AND ROBERT FROST'S POETRY: A CRITICAL ANALYSIS." International Journal of Multidisciplinary Research and Modern Education 3, no. 1 (2017): 526–29. https://doi.org/10.5281/zenodo.825273.

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We cannot ignore the fact that since the inception of civilization, both women as well as Nature are the integral parts of any society or culture. The reason is that it is a woman whois the pillar of a home because of being the creator of the hand that rocks the cradle, rules the human beings on earth, the same woman makes a family and these families lay the base of a nation. Like woman, Nature too gives her offerings to the ‘man-made society and never demand anything for that. In this way, we can say that though the maker of a nation is undoubtedly women yet the role of Nature cannot be under

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Alma, Dema. "The Autobiographical and National Yeast of E. Halili's Poetry under Narrative Interpretive Observation." Beder Journal of Educational Sciences Volume 26(2) (June 22, 2023): 107–23. https://doi.org/10.5281/zenodo.8070040.

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<strong>Abstract</strong> Albanian is spoken and written in two main dialects: The tosk and the geg ones. The tosk is used in South Albania and geg in the north Albania. The national literary tradition recognizes achievements in both dialects so much so that the Tosk dialect lies at the core of the construction of what is called the official Albanian language. The geg dialect is a dialect in which important figures and personalities of Albanian culture, art and literature have written, leaving a rich and very enviable fund of literary critics of art and moreover of scholars of language and dia

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Paul, Joanna. "Reception." Greece and Rome 61, no. 2 (2014): 308–11. http://dx.doi.org/10.1017/s0017383514000151.

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A recent special issue of the Classical Receptions Journal marked the twentieth anniversary of the publication of Charles Martindale's Redeeming the Text. Latin Poetry and the Hermeneutics of Reception. Although the rich and various examples of classical reception scholarship that have appeared over the past two decades are by no means all cut from Martindale's cloth, the ‘seminal’ and ‘influential’ nature of his study is surely not in doubt. It is fitting, then, that this issue's round-up of reception publications focuses on a small cluster of recent studies that, like Redeeming the Text, exp

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Quinault, Diffo Leonie, and Atouga Jean Pierre. "Assessing the Translatability of Emotional Discourse in Djaïli Amadou Amal’s Munyal “Les Larmes de La Patience." Traduction et Langues 21, no. 2 (2022): 146–62. http://dx.doi.org/10.52919/translang.v21i2.912.

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Human beings experience all sorts of emotions: sadness, fear, joy, anger, etc. which they communicate to their surrounding through language. As such, emotions are embedded in culture and thus differ from one person to another according to the cultural context and specific situations or events that trigger them. They can be expressed in action, for instance boxing in order to evacuate once anger, or in writing through language. Language is thus relevant for emotion and plays a key role in expressing emotions. There thus exists a close link between emotion and language. This partly explains why

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Mortensen, Viggo. "Et rodfæstet menneske og en hellig digter." Grundtvig-Studier 49, no. 1 (1998): 268–72. http://dx.doi.org/10.7146/grs.v49i1.16282.

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A Rooted Man and a Sacred PoetBy Viggo MortensenA Review of A.M. Allchin: N.F.S. Grundtvig. An Introduction to his Life and Work. With an afterword by Nicholas Lossky. 338 pp. Writings published by the Grundtvig Society, Århus University Press, 1997.Canon Arthur Macdonald Allchin’s services to Grundtvig research are wellknown to the readers of Grundtvig Studier, so I shall not attempt to enumerate them. But he has now presented us and the world with a brilliant synthesis of his studies of Grundtvig, a comprehensive, thorough and fundamental introduction to Grundtvig, designed for the English-s

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Kleyn, Leti. "We are aware – Creative writing, concrete poetry and writers’ resistance." Literator 33, no. 1 (2012). http://dx.doi.org/10.4102/lit.v33i1.25.

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In this article, the focus is on the artist’s book – Sanity on the line – a catalogue of individual work (of students) compiled from a cut-up poetry project that was exhibited as part of the Transgressions and boundaries of the page artist’s book project. Amongst others, the phenomenon known as concrete poetry, which was developed by Hunley (2007) as an alternative approach to teaching through the creative art of writing workshop method, is explored. Furthermore, a few individual works in the cut-up poetry project are discussed by relating them to existing South African examples of concrete po

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Marston, Kate. "Fabricating future bodies: making digital sexualities research matter." Qualitative Research Journal ahead-of-print, ahead-of-print (2021). http://dx.doi.org/10.1108/qrj-01-2021-0014.

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PurposeThis paper critically examines the development and direction of the Fabricating Future Bodies (FFB) Workshop. Troubling notions of co-production as enacting equality or empowering participants, it draws on feminist posthuman and new materialist concepts to understand it as an eventful process that occurs in unpredictable and shifting affect-laden assemblages.Design/methodology/approachThe FFB Workshop formed part of the final phase of my Economic and Social Research Council (ESRC) funded doctoral study, titled “Exploring young people's digital sexual cultures through creative, visual an

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Tan, Maria. "Sizing Up Winter by L. Flatt." Deakin Review of Children's Literature 3, no. 3 (2014). http://dx.doi.org/10.20361/g2v60g.

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Flatt, Lizann. Sizing Up Winter. Illus. Ashley Barron. Toronto, ON: Owlkids, 2013. Print.Children’s book author, Lizann Flatt, is a freelance editor and writer of children’s fiction, non-fiction, and poetry. Ms Flatt has enjoyed a longstanding relationship with Owl, beginning as a teen in 1981, when she won a writing contest and was published in Owl Magazine. Lizann went on to contribute in content development and editorial positions during and following her Arts degree.Hailing originally from Whitby, Ontario, Toronto-based illustrator, Ashley Barron is passionate about nature, and this comes

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Eades, Quinn, and Francesca Rendle-Short. "We are making a boat, love: 30 years of experimental feminist writing in Australia." TEXT 28, Special 73 (2024). https://doi.org/10.52086/001c.126960.

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“We are making a boat, love” is a bookish multimodal experiment-in-the-making that works with/into/because Ania Walwicz’s Boat (1989) and as an exemplar of Eades’s écriture matière (2015). In this work we boat build a corpus of experimental reflective and material writing that makes visible an extended and always present but often forgotten archive of creativecritical writing in this place named Australia. Following on from methods developed during their longitudinal blackout poetry project Sending Love, Eades and Rendle-Short tore out and sent (by post) a page of Boat to each writer. Writers

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Begum, Abhibunnisha. "Emphasizing the use of literature as an effectual technique for teaching Language: A Study." Scholarly Research Journal for Interdisciplinary Studies 4, no. 37 (2017). http://dx.doi.org/10.21922/srjis.v4i37.10663.

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This paper aims at emphasizing the use of literature as an effectual technique for teaching both basic language skills (i.e. reading, writing, listening and speaking) and language areas (i.e. and vocabulary, grammar and pronunciation). Reasons for using literary texts in foreign language that is English and the main criteria for selecting apposite literary texts in foreign language classes are hassled as the only language in which all subjects travel is English. Moreover the teaching of language skill’s benefits is obtained through altered genres of literature (i.e. poetry, short fiction, dram

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"Traditionalism, as a factor in the development of Central Asian society (XIX-early XX centuries.)." International Journal of Innovative Technology and Exploring Engineering 8, no. 9 (2019): 933–38. http://dx.doi.org/10.35940/ijitee.i7861.078919.

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After Uzbekistan gained state independence, one of the priorities of the national historical science was the task of re-creating the true history of the Uzbek people and their statehood at various stages of historical development. In the process of implementing this task, the introduction into scientific circulation and the objective interpretation of a new source material has become important. These include an extensive body of research devoted to a wide range of issues related to the development of the history of Central Asian society in different literature on its periodization. One of the

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Martin, Sam. "Publish or Perish? Re-Imagining the University Press." M/C Journal 13, no. 1 (2010). http://dx.doi.org/10.5204/mcj.212.

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In a TEXT essay in 2004, Philip Edmonds wrote about the publication prospects of graduates of creative writing programs. He depicted the publishing industry of the 1970s and 1980s as a field driven by small presses and literary journals, and lamented the dearth of these publications in today’s industry. Edmonds wrote that our creative writing programs as they stand today are under-performing as they do not deliver on the prime goal of most students: publication. “Ultimately,” he wrote, “creative writing programs can only operate to their full potential alongside an expanding and vibrant publis

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Scholes, Nicola. "The Difficulty of Reading Allen Ginsberg's "Kaddish" Suspiciously." M/C Journal 15, no. 1 (2011). http://dx.doi.org/10.5204/mcj.394.

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The difficulty of reading Allen Ginsberg's poetry is a recurring theme in criticism of his work and that of other post-WWII "Beat Generation" writers. "Even when a concerted effort is made to illuminate [Beat] literature," laments Nancy M. Grace, "doing so is difficult: the romance of the Beat life threatens to subsume the project" (812). Of course, the Beat life is romantic to the extent that it is romantically regaled. Continual romantic portrayals, such as that of Ginsberg in the recent movie Howl (2010), rekindle the Beat romance for new audiences with chicken-and-egg circularity. I explor

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Hackett, Lisa J., and Jo Coghlan. "Conjuring Up a King." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2986.

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Introduction The coronation of King Charles III was steeped in the tradition of magic and ritual that has characterised English, and later British, coronations. The very idea of a coronation leverages belief in divinity; however, the coronation of Charles III occurred in a very different social environment than those of monarchs a millennium ago. Today, belief in the divine right of Kings is dramatically reduced. In this context, magic can also be thought of as a stage performance that relies on a tacit understanding between audience and actor, where disbelief is suspended in order to achieve

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

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

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Sánchez, Rebecca. "Hart Crane’s Speaking Bodies: New Perspectives on Modernism and Deafness." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.258.

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I. The early twentieth century may seem, at first glance, a strange place to begin a survey of attitudes towards deafness. At this point, the American Deaf community was just forming, American Sign Language was not yet recognised as a language, and most Americans who did consider deafness thought of it as a disability, an affliction to be pitied. As I will demonstrate, however, modernist writers actually had a great deal of insight into issues central to the experience of many deaf people: physical and visual language. While these writers were not thinking of such language in relation to deafn

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Bessler, John D. "Lost and Found: The Forgotten Origins of the “Cruel and Unusual Punishments” Prohibition." British Journal of American Legal Studies, June 19, 2025. https://doi.org/10.2478/bjals-2025-0013.

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Abstract The U.S. Supreme Court and legal scholars have long traced the origins of the Eighth Amendment’s prohibition against “cruel and unusual punishments” to the English Declaration of Rights, codified as the English Bill of Rights (1689). The English Declaration of Rights recited that, in King James II’s reign, “illegal and cruel punishments” had been “inflicted,” with its tenth clause then declaring in hortatory fashion: “That excessive bail ought not to be required, nor excessive fines imposed, nor cruel and unusual punishments inflicted.” The prohibitions against excessive bail and exce

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

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

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Carter, Derrais. "Black Wax(ing): On Gil Scott-Heron and the Walking Interlude." M/C Journal 21, no. 4 (2018). http://dx.doi.org/10.5204/mcj.1453.

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The film opens in an unidentified wax museum. The camera pans from right to left, zooming in on key Black historical figures who have been memorialized in wax. W.E.B. Du Bois, Marian Anderson, Booker T. Washington, Frederick Douglass, and Duke Ellington stand out. The final wax figure, a Black man, sits with an empty card box in his right hand and a lit cigarette in his left. The film’s narrator appears: a slim, afroed Black man. He sits to the right of the figure. The only living person in a room full of bodies, he reaches over to grab the cigarette. To his inanimate companion he nonchalantly

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Seale, Kirsten. "Doubling." M/C Journal 8, no. 3 (2005). http://dx.doi.org/10.5204/mcj.2372.

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   ‘Artists are replicants who have found the secret of their obsolescence.’ (Brian Massumi)   The critical reception to British writer Iain Sinclair’s most recent novel Dining on Stones (or, the Middle Ground) frequently focused on the British writer’s predilection for intertextual quotation and allusion, and more specifically, on his proclivity for integrating material from his own backlist. A survey of Dining on Stones reveals the following textual duplication: an entire short story, “View from My Window”, which was published in 2003; excerpts from a 2002

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Smith, Hazel, and Roger T. Dean. "Posthuman Collaboration: Multimedia, Improvisation, and Computer Mediation." M/C Journal 9, no. 2 (2006). http://dx.doi.org/10.5204/mcj.2619.

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Artistic collaboration involves a certain loss of self, because it arises out of the merging of participants. In this sense collaboration questions the notion of the creative individual and the myth of the isolated artistic genius. As such, artistic collaborations can be subversive interventions into the concept of authorship and the ideologies that surround it (Smith 189-194). Collaborations also often simultaneously superimpose many different approaches to the collaborative process. Collaboration is therefore a multiplicitous activity in which different kinds of interactivity are interlinked

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Seale, Kirsten, and Emily Potter. "Wandering and Placemaking in London: Iain Sinclair’s Literary Methodology." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1554.

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Iain Sinclair is a writer who is synonymous with a city. Sinclair’s sustained literary engagement with London from the mid 1960s has produced a singular account of place in that city (Bond; Baker; Seale “Iain Sinclair”). Sinclair is a leading figure in a resurgent and rebranded psychogeographic literature of the 1990s (Coverley) where on-foot wandering through the city brings forth narrative. Sinclair’s wandering, materialised as walking, is central to the claim of intimacy with the city that underpins his authority as a London writer. Furthermore, embodied encounters with the urban landscape

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Carroll, Richard. "The Trouble with History and Fiction." M/C Journal 14, no. 3 (2011). http://dx.doi.org/10.5204/mcj.372.

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Historical fiction, a widely-read genre, continues to engender contradiction and controversy within the fields of literature and historiography. This paper begins with a discussion of the differences and similarities between historical writing and the historical novel, focusing on the way these forms interpret and represent the past. It then examines the dilemma facing historians as they try to come to terms with the modern era and the growing competition from other modes of presenting history. Finally, it considers claims by Australian historians that so-called “fictive history” has been best

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Beyer, Sue. "Metamodern Spell Casting." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2999.

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There are spells in the world: incantations that can transform reality through the power of procedural utterances. The marriage vow, the courtroom sentence, the shaman’s curse: these words are codes that change reality. (Finn 90) Introduction As a child, stories on magic were “opportunities to escape from reality” (Brugué and Llompart 1), or what Rosengren and Hickling describe as being part of a set of “causal belief systems” (77). As an adult, magic is typically seen as being “pure fantasy” (Rosengren and Hickling 75), while Bever argues that magic is something lost to time and materialism,

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Edoardo Tresoldi. "Edoardo Tresoldi and the heteronomy of architecture." TECHNE - Journal of Technology for Architecture and Environment, May 26, 2021, 37–43. http://dx.doi.org/10.36253/techne-11000.

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The Heteronomy of architecture «is understood as the condition to be pursued if one sets one’s goal of producing buildings that belong to one’s own time, to the complex interweaving of values and needs that characterise it, to the place where they arise»1.  Heteronomy in architecture allows us to break the boundaries still linked to the concept of the now obsolete scientific sector. The breaking of these boundaries makes a trans-disciplinary contribution possible and consequently leads us to having a transversal vision. One of the people who recently successfully pursued the road of the

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Altiok, Revna. "Unveiling Ken." M/C Journal 27, no. 3 (2024). http://dx.doi.org/10.5204/mcj.3067.

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Introduction "Barbie has a great day every day, but Ken only has a great day if Barbie looks at him", states the narrator in Barbie (2023). Directed by Greta Gerwig, the film not only claimed the title of the highest-grossing film of the year but also prompted its audience to reconsider a character they had previously mostly overlooked; another one of Barbie’s many accessories: Ken. Ken's identity as Barbie's companion is fundamentally dependent upon the presence and recognition of his more prominent female counterpart. This highlights Ken's secondary role, where he serves as a supporting figu

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Hanley, Janis. "Spinning Circle at the Mill." M/C Journal 26, no. 6 (2023). http://dx.doi.org/10.5204/mcj.2936.

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An artful Facebook post after a research event, a spinning circle held at a state heritage listed former mill, is used to explore the intersection of craftivism and the politics around the future of this site. This article takes a new materialism approach to explore the dynamic interactions (intra-actions) and shifting power relations around place (territorialisations). Both the spinning circle and the post were a gentle activism, or as Greer (12) describes it, craftivism, whose essence lies in ‘creating something that gets people to ask questions’. In 2018, I conducted the research event, the

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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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Thomas, Peter. "Anywhere But the Home: The Promiscuous Afterlife of Super 8." M/C Journal 12, no. 3 (2009). http://dx.doi.org/10.5204/mcj.164.

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Consumer or home use (previously ‘amateur’) moving image formats are distinguished from professional (still known as ‘professional’) ones by relative affordability, ubiquity and simplicity of use. Since Pathé Frères released its Pathé Baby camera, projector and 9.5mm film gauge in 1922, a distinct line of viewing and making equipment has been successfully marketed at nonprofessional use, especially in the home. ‘Amateur film’ is a simple term for a complex, variegated and longstanding set of activities. Conceptually it is bounded only by the negative definition of nonprofessional (usually inte

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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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