...Comics as Archives: MetaMetaMaus Hillary Chute | University of Chicago Abstract: In the view of some critics, the form of comics is a locus of the archival, a place where we can identify an archival turn. Art Spiegelman’s Maus first and perhaps most forcefully established the connection between archives and comics. His groundbreaking work documenting his father’s experience in WWII Poland, where he survived internment in Auschwitz, is a visual narrative based on oral testimony that consistently heightens our awareness of visual, written, and oral archives, and where they interact, overlap, or get transposed one into the other. Hillary Chute recounts and interprets her collaboration with Spiegelman in the process of assembling MetaMaus, a book compiling interviews and archival materials on the making of Maus. MetaMaus, argues Chute, reflects the tension between different kinds of extant archives—oral, written, photographic—and the cross-discursive work of (re)building new archives that motivates Maus. Its defining feature is that it shows the materiality of Spiegelman’s archive; it is about the embodiment of archives. The subject of Maus is the retrieval of memory and ultimately, the creation of memory…. It’s about choices being made, of finding what one can tell, and what one can reveal, and what one can reveal beyond what one knows one is revealing. Those are the things that give real tensile strength to the work—putting the dead into little boxes. – Art Spiegelman (MetaMaus...
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...The Ambiguity of Weeping. Baroque and Mannerist Discourses in Haynes’ Far from Heaven and Sirk’s All That Heaven Allows. Jack Post Abstract Although Douglas Sirk’ All That Heaven Allows (1954) and Todd Haynes’ Far from Heaven (2002) are both characterized as melodramas, they address their spectators differently. The divergent (emotional) reactions towards both films are the effect of different rhetorical strategies: the first can be seen a typical example of baroque discourse and the latter as a specimen of mannerist discourse. The reference to the terms melodrama, mannerism and baroque does not imply that these films are just formal repetitions of historical periods or that they thematically and structurally refer to historical styles, but that they are characterized by opposing discursive strategies which came to the foreground in a specific historical time and constellation. Because these discursive strategies return in other historical periods and socialpolitical circumstances in different guises and with different aims, they can be compared to what Aby Warburg calls Pathosformeln (pathos formula). The expressive forms, gestures and discursive modes of melodrama, baroque and mannerism can thus be understood as transhistorical (gestural) languages of pathos that recur in history. Résumé Bien que All that heaven allows (1954) par Douglas Sirk et Far from heaven (2002) par Todd Haynes se caractérisent nettement comme un mélodrame, les deux films adressent...
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...God’s Activity in Daily Conversation Matthew E. Murraine THEO 201-D25 Dr. Easterling April 25, 2016 Thesis Statement: Since the interactive nature of God is communicated and understood through personal relationships, we are moved as Christians to emulate His being in our daily activities and conversations. * Introduction/Thesis * A Brief History of God’s Historical Activity * Prophets and Judges * The person of Jesus Christ * The Holy Spirit * God’s activity today * God’s activity is understandable * God’s activity is situational * Wonderful Counselor * God’s activity is relational * Life within our communities * Conclusion Introduction It would be difficult to attempt to confine the activity of God through the entirety of scripture to a brief explanation of His work. The effort He exerts is broad in scope and incorporates several modes of transmission. A casual passing over of scripture in any period reveals that God is sensitive to cultural trends. This quality further reinforces the entire redemptive process as He is continually on mission, striving to bring us into a loving relationship with Him. It should be noted that the forms of communication that Jehovah utilizes include elements of understandability, situational mindfulness, and relational development. His activity in the Old Testament provides many examples of this as well as the work and miracles performed through the persons...
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...through Theatre This paper sets out to explore how processes of theatre making employed by The Mothertongue project, provide spaces for women to remap their personal narratives. Mothertongue works from the premise that the development and subsequent performance of stories in theatrical processes affords women the opportunity to re-write and remap their personal narratives and in so doing insert their voices into the landscape of South African Theatre. In an attempt to redress the gender imbalances and androcentricism prevalent in post-apartheid theatre, this paper speaks to the relationship between theatre, liminality and communitas. I am interested in unpacking how collaborative processes of theatre-making provide spaces for women to remap their personal narratives. Remapping in this instance refers to processes of transforming lived experience through story. I address how, through engaging in ritual activities that are central to the stories performed, actors, audiences and the owners of the source stories are invited to physically participate in remapping and transforming lived experience. Linked to this is the choice of form(s) and how this affects or impacts on the performed stories as well as on the construction of performed rituals and ultimately on the processes of remapping personal narratives. I focus specifically on Mothertongue’s 2004 production, Uhambo: pieces of a dream. The production was an integration of theatre and visual art in the form of performances...
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...edu/utk_gradthes/655 This Thesis is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact trace@utk.edu. To the Graduate Council: I am submitting herewith a thesis written by Leah Rang entitled "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Urmila Seshagiri, Major Professor We have read this thesis and recommend its acceptance: Lisi Schoenbach, Bill Hardwig Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official student records.) To the Graduate Council: I am submitting herewith a thesis written by Leah Rang entitled ―Bharati Mukherjee and the American Immigrant: Reimagining the Nation in a Global Context.‖ I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Urmila Seshagiri, Major...
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...as an adult. The main theme in the short story is depression caused of a death. The following essay focuses on the structure and symbols in the short story. “Divorced, Beheaded, Survived” is about a 40-year-old mother - Sarah, from whose the point of view is told – therefore a first person narrator. The woman looks back upon an essential episode in her childhood when her older brother became sick and died. The setting is also important in these realizations. The story takes place in Manhattan in the present, but the setting of Sarah’s childhood home is described positively with a sense of calming familiarity. “Day after day, dusk really, in the time between school and dinner, in the small, untended yard behind my childhood home…” When we see at the setting the exiting aspect is to see at the lack of details in the description. The result of this is that the focus of the story becomes the emotional way Sarah experiences and creates a deeper understanding of death and all it’s terrible consequences. The emotional aspect of the history is boosted through the structure of the short story. The short story is structured chronological with flashbacks of Sarah’s childhood like two stories from the Sarah’s life. The first story is her memories about the episode with her older brother’s death, and the other part of the short story is about an everyday situation where her son loses a friend. The...
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...the initial dependent human longing for protection and love in the presence of a mother. As the mother is everything a child needs when it is born, the mother also only needs the child in that moment. That bond is more precious than anything in the world, which is why every mother tries to have her children as close to her as she can. Every mother loves her child. They can argue, discuss intensely, the can even fight, but at the end of the day, a mother will always love her child. Because of the love, a mother has for her child; it is hard for her to let go. Some will tell their children how they feel, and some will just what do they think is the right thing for the child and hope that the child will understand. Motherly love is a topic we find in the short story “Where the Gods Fly”, written in 2012 by Jean Kwok. The short story is from the anthology “The Shortlist” which was one of the short stories that won The Sunday Times EFG Private Bank Short Story Award in 2012. Briefly, the short story is about a mother: fearful that she may be losing touch with her, and that she may be losing all that is inherent in her culture. A Chinese mother takes the drastic step of removing her daughter from ballet school. This paper contains an analysis and interpretation where part of the paper focuses on the structure of the story and the use of contrasts. The mother in the short story narrates the story, which means, the point of view in the short story is a limited omniscient first...
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...Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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...Television Studies ------------------------------------------------- Professor Eduardo Cintra Torres 1ªAula, dia 22 de Setembro de 2015 Programme: 1. Introduction to Television Studies; 2. Television text (contents); 3. Television agency; 4. Television and technology; 5. Television history; 6. Viewer, audiences: I, We, They. Why study television? People wrote about television as a general media. There was a certain resistance to the study of TV. To study popular culture was parallel to the fear of the death of high culture. Umberto Eco (1964) and others gave special attention to TV and other “minor arts”. The interest in the study of reader/receiver increased in the 60’s in the universe of high culture and the academy. R.Barthes – encode/decode. Later the canonization of popular mass culture in Anglo-American countries changed the vision of the society about the TV. In the US they reflected about the industry. Cultural industries – television is culture but it’s also an industry. If we think in Hollywood as a dream factory we have also a culture industry. Nowadays popular culture is a part of our life. Common sense and TV – resisting the analysis of television is also a consequence of commons sense. But there is a paradox: it is so easy to watch that it becomes difficult to analyze. TV is inscribed in daily life. TV is transparent. Popular culture, namely TV, has a supposed transparency: what I see is what it looks likely...
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...arguments usually question or celebrate the transgressive potentials of the book (Giroux; Mendieta), or address issues of masculinity brought into the fore by their literary and cinematic representations emergent in the same decade (Tuss; Friday). However, few, if any, have addressed the literary aspirations of the text and its author. Although none of the approaches to the thematic concerns of Fight Club are unjustified, in the argument that follows I will suggest that conclusions drawn and critical judgments passed have been hasty, and not only failed to take into account the formal aspects of story-telling, but that the narrative features of Palahniuk’s text have largely went unexplored, and constitute a blind spot of the reception. Critics condemning or acclaiming the novel, and, indeed, many a cultic reader of Palahniuk ignored Fight Club as a literary narrative, and have inadvertently been repeating the catchphrases of the text, either reinforcing or trying to undermine what they have understood as their meaning. I see the significance of Palahniuk’s fiction and the literary event of Fight Club’s publication in somewhat different terms. Palahniuk’s emphasis and continued insistence on minimalism suggest that his fiction is properly understood as belonging to a literary tradition whose evaluation remains troubled and, for a large part, unsettled. Nevertheless,...
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...STUDIES IN PROFESSIONAL LIFE AND WORK Mike Hayler University of Brighton, UK Autoethnography, Self-Narrative and Teacher Education examines the professional life and work of teacher educators. In adopting an autoethnographic and life-history approach, Mike Hayler develops a theoretically informed discussion of how the professional identity of teacher educators is both formed and represented by narratives of experience. The book draws upon analytic autoethnography and life-history methods to explore the ways in which teacher educators construct and develop their conceptions and practice by engaging with memory through narrative, in order to negotiate some of the ambivalences and uncertainties of their work. The author’s own story of learning, embedded within the text, was shared with other teacher-educators, who following interviews wrote self-narratives around themes which emerged from discussion. The focus for analysis develops from how professional identity and pedagogy are influenced by changing perceptions and self-narratives of life and work experiences, and how this may influence professional culture, content and practice in this area. Autoethnography, Self-Narrative and Teacher Education Autoethnography, Self-Narrative and Teacher Education STUDIES IN PROFESSIONAL LIFE AND WORK The book includes an evaluation of how using this approach has allowed the author to investigate both the subject and method of the research with implications for ...
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...Conversion narratives are crucial to World War II films. They were a regular part of Hollywood movies featuring cynical, self-centered antiheros who only cared about themselves. The selfish hero in the face of absolute need converts to a selfless wartime activist dedicating time and resources to the cause and war effort. Casablanca, released in 1942, is a film that portrayed the consequences of having to convert to war. The movie can be seen as giving purpose to war and encouraging the American people to support the mobilization of their troops. The need to convert to war was imperative at this moment in time. Casablanca brilliantly explained to Americans the reason for the fight through the fictional conversion of Rick Blaine and corrupt Vichy police Captain Louis Renault to self-sacrifice and war. The opening scene for the movie sets up establishing shots of imprisoned Europe. A roundabout refugee trail sprung up in order to get to Lisbon, which was the disembarkation point to the new world. The narrator, in a newsreel format, says people looked for freedom in the Americas. The Moroccan city of Casablanca attracted people from all over as many refugees were trying to get out of Europe. They wait in Casablanca. The first scene shows Casablanca as a very police state with a great military presence. The busyness of the exotic open market the camera frame shows the city as being very walled in. People are trapped and they can’t move or go anywhere. The murder of two German...
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...Ben Corbett Mick Grierson FI506 Avant Garde Film What Constitutes a Diary Film, and Why Might it be Considered a Form of Avant-Garde or ‘Critical’ Film? In order to answer this question there are a few areas that require specific definition. The term Avant-Garde itself is something that often can differ in its exact meaning due to interpretation. This makes it an almost undesiferrable term for both historians and critics alike. Critic, Ian Christie claims that the term is, ‘always open to dispute and redefinition.’[1] This claim has very strong foundations. The very nature of Avant-Garde film requires it to be at the forefront of experimentation. As new techniques are explored and boundaries are broken down, what may have been at the forefront of experimentation in the Fifties for example, may be one of the most used techniques in Hollywood by the Seventies or now. This gives the impression that to remain innovative, Avant-Garde directors must change style to fit what is required of them during their particular time period. The mention of Hollywood hints at the relationship it has with the Avant-Garde. Murray Smith describes Avant-Garde as a ‘personal mode’, and goes on to say the films are made by, ‘filmmakers alone or in combination with private patronage and grants...
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...10 Qualitative Research Methods in Psychology Deborah Biggerstaff Warwick Medical School University of Warwick, Coventry UK 1. Introduction In the scientific community, and particularly in psychology and health, there has been an active and ongoing debate on the relative merits of adopting either quantitative or qualitative methods, especially when researching into human behaviour (Bowling, 2009; Oakley, 2000; Smith, 1995a, 1995b; Smith, 1998). In part, this debate formed a component of the development in the 1970s of our thinking about science. Andrew Pickering has described this movement as the “sociology of scientific knowledge” (SSK), where our scientific understanding, developing scientific ‘products’ and ‘know-how’, became identified as forming components in a wider engagement with society’s environmental and social context (Pickering, 1992, pp. 1). Since that time, the debate has continued so that today there is an increasing acceptance of the use of qualitative methods in the social sciences (Denzin & Lincoln, 2000; Morse, 1994; Punch, 2011; Robson, 2011) and health sciences (Bowling, 2009; Greenhalgh & Hurwitz, 1998; Murphy & Dingwall, 1998). The utility of qualitative methods has also been recognised in psychology. As Nollaig Frost (2011) observes, authors such as Carla Willig and Wendy Stainton Rogers consider qualitative psychology is much more accepted today and that it has moved from “the margins to the mainstream in psychology in the UK.” (Willig & Stainton...
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...POLITICS, THEOLOGY AND HISTORY RAYMOND PLANT CAMBRIDGE UNIVERSITY PRESS Politics, Theology and History is a major new book by a prominent academic and an active politician. It ranges widely across the disciplines of theology, political theory and philosophy and poses acute questions about the basic moral foundations of liberal societies. Lord Plant focuses on the role that religious belief can and ought to play in argument about public policy in a pluralistic society. He examines the potential political implications of Christian belief and the ways in which it may be deployed in political debate. The book is a contribution to the modern debate about the moral pluralism of western liberal societies, discussing the place of religious belief in the formation of policy and asking what sorts of issues in modern society might be the legitimate objects of a Christian social and political concern. Raymond Plant has written an important study of the relationship between religion and politics which will be of value to students, academics, politicians, church professionals, policy makers and all concerned with the moral fabric of contemporary life. r ay m on d pl an t is Professor of European Political Thought at the University of Southampton and a Member of the House of Lords. He was a Home affairs spokesperson for the Labour Party from 1992 to 1996, and Master of St Catherine's College, Oxford, from 1994 to 2000. Lord Plant's main publications are Social and Moral Theory in Casework...
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