13,089 research outputs found
Low Rise
No full textLow Rise is a contribution to the special issue of Art Licks Magazine on 'interdependence' and comes in the form of an annotated and illustrated poem, taking its title from a project of the same name. Low Rise is a project facilitated from a flat shared by the artists JJ Chan and Sarah Howe and located on the top floor of Medina House on the Rye Hill Estate in Peckham, London. Low Rise began as an attempt to engage and create as a collective not only of those who ordinarily consider themselves to be artists but also of administrators, designers, dinner ladies, architects, musicians, magicians, city workers, cleaners, mothers, fathers, children and pets; a collective of all the residents of the 30 flats in Medina House, a 1960's low rise council block in South East London. Through the platform of an annual city-wide arts festival, Art Licks Weekend, Low Rise has brought an audience to life in Medina House. It has developed a collective voice through making that has been active in campaigning for safe cladding, unjust service charges, and poor maintenance. It has brought closer a community of neighbours who in their collectivity can grieve, love, play, and make together.
For Art Licks magazine Chan and Howe reflect on Medina’s 2019. The Polaroid photographs depict objects in the artists home that have come from 'the ledge'; a raised and covered concrete surface, about elbow height, and a couple of meters from the bins right next to the front door. It is where residents leave items for others to take: second-hand furniture, clothes, toys, books, vases, works of art and more. These items move around the block, shifting from where they are no longer needed into where they are, through an unspoken neighbours’ arrangement – a show of interdependence.
Issue 24 of Art Licks magazine responds to the title of Interdependence. Coinciding with the annual London festival, the Art Licks Weekend (17-20 October 2019), both the festival and magazine explore ideas of artist community, support, reciprocity, and networks. Grassroots projects have often been described as ‘independent’ but this implies being in isolation, outside of the system; and this does not fully reflect how people are now working today. Instead, artist projects and practices positively depend on community and rely on exchange and support from one another. It is about collectivism; trusting one another as forms of production and art-making. The issue asks: what is most important when working together? What is it to care and what investment does that require? What structures need developing for sustainable outcomes
The 'true use of reading' : Sarah Fielding and mid eighteenth-century literary strategies.
No full textPhDThe aim of this thesis is to explore, by examining her life and
works, how Sarah Fielding (1710-68) established her identity as an author.
The definition of her role involves her notions of the functions of
writing and reading.
Sarah Fielding attempts to invite readers to form a sense of ties
by tacit understanding of her messages. As she believes that a work
of literature is produced through collaboration between the writer and
the reader, it is an important task in her view to show her attentiveness
toward reading practice. In her consideration of reading, she has two
distinct, even opposite views of her audience: on the one hand a familiar
and limited circle of readers with shared moral and cultural values and
on the other potential readers among the unknown mass of people. The
dual targets direct her to devise various strategies. She tries to
appeal to those who can endorse and appreciate her moral values as well
as her learning. Her writings and letters testify that she is sensitive
to the demands of the literary market, trying to lead the taste of readers
by inventing new forms.
The thesis opens with an overview of Sarah Fielding's career,
followed by a consideration of her critical attention to the roles of
reading. I go on to examine the narrative structures and strategies
she deploys, with a particular emphasis on her use of the epistolary
method. The following chapter deals with her attention to the reading
of the moral message tangibly embodied in her educational writing. It
is followed by an analysis of the activity which earned her a reputation
as a learned woman. Various as the forms of her works are, they invariably
reflect her attempt to balance herself between the two demands of
inventiveness and familiarity
First person - Sarah Alghamdi
No full textABSTRACT
First Person is a series of interviews with the first authors of a selection of papers published in Disease Models & Mechanisms, helping early-career researchers promote themselves alongside their papers. Sarah Alghamdi is first author on ‘ Contribution of model organism phenotypes to the computational identification of human disease genes’, published in DMM. Sarah is a PhD student in the lab of Robert Hoehndorf at King Abdullah University of Science and Technology, Thuwal, Saudi Arabia, investigating artificial intelligence, specifically knowledge representation and reasoning over biomedical data
Portrait of the English anthropologist Gregory Bateson, New Guinea, 1929 [picture] /
No full textPart of the collection: Sarah Chinnery photographic collection of New Guinea, England and Australia.; Gregory Bateson, famous English anthropologist, New Guinea research in Bainings and Sepik, eventually lived and worked in the United States. Author of "Naven" and other works. -- Accompanying notes from family.; Inscription: "1929" -- On label. "Gregory Bateson, 'Naven' and other works" -- In red ink.; Sarah Chinnery no.: Part 2.; Also available in an electronic version via the internet at: http://nla.gov.au/nla.pic-vn4506462
Portrait of the anthropologist Professor Hortense Powdermaker from Queens, New York, in New Guinea, 1929 [picture] /
No full textPart of the collection: Sarah Chinnery photographic collection of New Guinea, England and Australia.; Inscriptions: "Professor Hortense Powdermaker, (Queens N.Y., U.S.A.) 'Life in Lesso [i.e. Lesu]' and other works" --In red ink. "1929" -- In pencil.; Professor Hortense Powdermaker, American anthropologist 1929 research in Lesu, New Ireland, New Guinea. Author of "Life in Lesu" and other works. -- Accompanying notes from family.; Sarah Chinnery no.: Part 2.; Also available in an electronic version via the internet at: http://nla.gov.au/nla.pic-vn4506463
Portrait of Bill Harney the "Keeper of Uluru", Black Rock, Victoria, ca. 1955, 3 [picture] /
No full textPart of the collection: Sarah Chinnery photographic collection of New Guinea, England and Australia.; Bill Harney, Patrol Officer, Northern Territory. Later was keeper of Uluru, poet, author, at Chinnery's Black Rock home. -- Accompanying notes from family.; Condition: Scratched.; Also available in an electronic version via the internet at: http://nla.gov.au/nla.pic-vn4554174
Sarah Fielding: Satire and Subversion in the Eighteenth-Century Novel
No full textThis study of Sarah Fielding (1710―68) is an original contribution to Fielding scholarship that has a dual purpose: to support those who are striving to re-introduce her to the modern literary landscape in an effort to restore her eighteenth-century literary standing, and to firmly establish Fielding as an early feminist writer. It is argued here that throughout her oeuvre Fielding challenged prevailing traditions that denied women a choice, particularly in education, employment and marriage. These themes are also considered in the political treatises of Mary Astell (1666―1731) and Mary Wollstonecraft (1759―97), who are now widely recognised as feminist writers.
It is further argued that Fielding’s subversion in fiction of the English patriarchal system is underscored by her unorthodox performance in the literary arena. This is fully explored alongside her use of sentimentalism as a literary tool with which she challenges her seemingly inhumane society. Fielding’s interest in ‘the Labyrinths of the Mind’ (in modern terms, human psychology) will also be addressed as will her placement in the history of feminism and her placement in the sentimental novel tradition. Fielding’s performance as a literary critic will be compared with the few female authors who, like her, dared to publish literary criticism during her writing career. Accordingly, extracts from Fielding’s novels and her two critical pamphlets will be thoroughly examined.
An updated biography of Fielding that is also included here will provide evidence for a further claim, that her fiction is autobiographical in part. A comprehensive account of Fielding’s performance as a literary critic forms the final chapter of this work. It is the first full-length examination of her contribution to the genre and includes an appraisal of her recently unearthed critical pamphlet entitled A Comparison Between the Horace of Corneille and The Roman Father of Mr. Whitehead (1750) that is yet to be formerly attributed to her. Ultimately this study of Fielding will go far beyond what has previously been written about this remarkable eighteenth-century author, particularly regarding her feminist activity
Sarah L. Blum Author Visit - Warrior Nurse: PTSD and Healing
No full textHear Sarah L. Blum, author of Women Under Fire: Abuse in the Military, discuss her newest book, Warrior Nurse: PTSD and Healing followed by a Q&A and book signing.
Sarah L. Blum is a decorated Vietnam veteran who served as an operating room nurse during the intense fighting of 1967. In recognition of her service, she was awarded the Army Commendation Medal.
Sponsored by CWU Veterans Center and CWU Libraries.https://digitalcommons.cwu.edu/libraryevents/1252/thumbnail.jp
Vietnam Veteran Sarah Blum
No full textAuthor Sarah Blum discusses her experience in Vietnam and her book, Women Under Fire: Abuse in the Military. Blum, ARNP is a decorated nurse Vietnam veteran who earned the Army Commendation Medal serving as an operating room nurse at the 12th Evacuation Hospital Cu Chi, Vietnam during the height of the fighting in 1967.
Sarah shares her experience in Vietnam, her path to healing PTSD, and her 34-years of experience healing others.https://digitalcommons.cwu.edu/libraryevents/1245/thumbnail.jp
Secondary Pleasures, Spatial Occupations and Postcolonial Departures: Park Chan-Wook's Agassi/The Handmaiden and Sarah Waters's Fingersmith
No full textThis essay explores neo-Victorian fiction in an Asian context via the case-study example of Park Chan-wook’s 2016 South Korean film Agassi/The Handmaiden. An ostensible adaptation of British author Sarah Waters’s novel Fingersmith (2002), Agassi/The Handmaiden is a complex multi-lingual engagement with cultural, political, and sexual histories that are entirely Asian in provenance and that in turn require new attention be paid to the narrative and generic repertoires deployed by Waters’s novel. The article asks how the impact occasioned by adaptational tactics such as neo-Victorianism deepens when the shift is not only one of medium (novel to film) but a recalibration of perspective away from the Anglophone. Park Chan-wook’s film repurposes a British neo-Victorian novel into an early twentieth-century Japanese occupational context and makes new Korean meanings that actively decentre Western concerns
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