10 research outputs found
Wrist Angel - Qualitative Interview procedure
No full textDescribes qualitative interview procedure exploring experiences of OCD patients' and their parents' use of the E4 wristband for symptom monitoring.
The correct author list and order: Amalie Stougaard, Line Katrine Harder Clemmensen, Anne Katrine Pagsberg, & Nicole Nadine Lønfeld
The author in literary theory and theories of literature
No full textWe have become accustomed to regarding the question of the author in literary criticism and theory in anti-authorial terms. It is a quaintness of modern literary theory that the author, whom we would, commonsensically, expect to be the central agent in the production of the literary work, has, for the most part of the past century, been considered a liminal character of minor importance to literary criticism, and, if not completely dead, then at least a ghost haunting the limits of the literary work of art
Scandinavian Crime Fiction, or: A Few Words on Snow, Myth, and Murder
No full textArtykuł jest recenzją książki Scandinavian Crime Fiction autorstwa Jakoba Stougaarda-Nielsena. Autor przejawia zdecydowanie krytyczną postawę zarówno wobec samej idei państwa opiekuńczego, jak i wobec jej realizacji. Udowadnia, że jest ona wynikiem prężnie rozwijającego się systemu kapitalistycznego i podkreśla jedynie różnice klasowe, zamiast je zacierać. Stougaard-Nielsen analizuje literackie i serialowe przykłady gatunku skandynawskiego kryminału, osadzając je w szerszym – kulturowym i ekonomicznym kontekście. Autor doszukuje się w fikcji kryminalnej odbicia kryzysu tożsamości skandynawskiego społeczeństwa, które odkryło, że idea państwa dobrobytu jest tak naprawdę fałszywą narracją.This article is a review of Jakob Stougaard-Nielsen’s book Scandinavian Crime Fiction. The author takes a firmly critical position towards the welfare state in practice and as an idea. He demonstrates that it is the consequence of the rampantly developing capitalist system and merely intensifies class differences rather than effacing them. Stougaard-Nielsen analyzes examples of Scandinavian crime fiction from both literature and television and presents them in their expansive cultural and economic contexts. The author identifies crime fiction’s capacity to reflect the identity crisis of Scandinavian society and in so doing, expose the idea of the welfare state as a false narrative
Author Correction: Intestinal microbiome adjusts the innate immune setpoint during colonization through negative regulation of MyD88
No full textThe original version of this Article contained an error in the spelling of the author Shuxin Yang, which was incorrectly given as Shuxing Yang. This has now been corrected in both the PDF and HTML versions of the Article.Correction to: Nature Communications; https://doi.org/10.1038/s41467-018-06658-4; published online 05 October 2018.Animal science
Transmedial Reading
No full textThis chapter explores the category of transmedial reading, referring to reading experiences that go beyond a single text and are related to bigger fictional universes. Through an empirical reading case of a comic book, it argues that reading in transmedial environments is always multiple. Readers interpret the text in relation to a whole ecology of related media products set in the same fictional world. How does the new text fit the worldness that readers have built up through years of engagement? What kinds of relations are established, and how is the reader’s own affect activated in relation to a set of personal memories? The chapter proposes a transmedial reading interview method based on the author´s own theoretical framework.This chapter explores the category of transmedial reading, referring to reading experiences that go beyond a single text and are related to bigger fictional universes. Through an empirical reading case of a comic book, it argues that reading in transmedial environments is always multiple. Readers interpret the text in relation to a whole ecology of related media products set in the same fictional world. How does the new text fit the worldness that readers have built up through years of engagement? What kinds of relations are established, and how is the reader’s own affect activated in relation to a set of personal memories? The chapter proposes a transmedial reading interview method based on the author´s own theoretical framework
Frontispieces and other ruins: the visual and textual culture of Henry James's New York Edition
No full textThe PhD dissertation, Frontispieces and other Ruins, is an investigation into the material nature of books with a collected edition as primary object of study. In the case of a collected edition, the physical and material form, the book’s graphic design, and the sheer voluminosity of the work are significant aspects of its expression. Through material layers the book imparts a certain “image” of its author, its texts, its mode of production, and its relation to the reader, the marketplace, and the culture of books. This study will explore the ways in which Henry James’s collected edition, popularly known as the New York Edition (1907–1909), through its visual and textual expressiveness, mediates its texts, their author, and the visual and textual culture into which the edition was published. Some of the striking aspects of the edition are the revised novels and tales, the prefaces, its twenty-four frontispiece photographs, and the different bindings in which it was published. The dissertation explores primarily these features belonging to the fringes of the edition. Though preoccupied with the borders of the literary work this study asks in which ways these frame or discipline the reading of the literary texts. Conversely, this study asks in which ways the literary texts direct the reader’s attention to a certain way of seeing and interpreting the features of the edition’s design. In this way, the dissertation is an attempt to read the edition as a material text in which contextual, paratextual, and textual layers are found to mirror and condition each other, to read the edition as a material and visual text, which embodies and mediates James’s ambiguous act of self-presentation, his complex reconsideration of his literary experience over time as a personal and artistic testament. When looking at the graphic design of books we are dealing with the visual dimension of the literary work of art – something which has often been neglected in literary studies. Therefore, this study situates the edition not only within its textual culture but also within the visual culture of late nineteenth and the early twentieth century. In particular, the photographic frontispieces and the edition’s graphic design cannot be properly appreciated without a look at the visual culture in which the edition appeared. As Richard Altick has noted, the nineteenth century witnessed a textual culture in which “reading and beholding coalesced.” In order to fulfill its promise of reading across the visual and textual borders of the book to the cultural and social and to “the texts themselves,” this study employs an interdisciplinary approach using methods and theories from art history, visual culture, media and technology studies, gender studies, book history, and literary theory. The main theoretical inspiration derives from recent developments within book history and textual criticism. Especially the works of D. F. McKenzie, Jerome McGann, Gérard Genette, and Roger Chartier have informed this study: works that have been central in reconfiguring not only their own disciplines but also the more general field of literary criticism. McGann, for instance, has sketched what he calls a “materialist hermeneutics” in which he differentiates between a literary work’s linguistic and bibliographical codes. A related study of such bibliographic codes is found in Genette’s definition of the paratext. Paratexts are the liminal devices that control how a reader perceives the text, such as the front and back covers, jacket blurbs, indexes, footnotes, and tables of content. Together, these reconfigurations of the object of study for literary criticism towards an interest in what D. C. Greetham has called “the bookishness of the book” inform the present study’s interest in the cultural and textual condition of the book, its texts, and its visual/verbal paratexts. The first chapter of the dissertation situates Henry James’s frontispiece portrait within a tradition of representing the author in the literary work and looks at the function and design of author-portraits within the history of the book. The author-portrait is a device that confers authority, cultural value, and canonicity on a literary work and its author. It allows the reader to imagine the author’s “physical” presence in the book. James’s portrait belongs to this tradition but it also “turns away” from it. It is here discussed in relation to an aesthetics of absorption as formulated by Michael Fried and W. J. T. Mitchell. The chapter proceeds to discuss the representation of the author’s face as presenting a mode of reading interiors and substances from their surface appearances. Such a hermeneutics and aesthetics of the face is compared to a twentieth-century tradition of considering the face as a central figure in the construction of art and identity. Here the study discusses works by Georg Simmel, Levinas, Deleuze and Guattari. Chapter Two explores the coincidence of sculpture, photography, and an aesthetics of the face in the edition’s material text. The chapter discusses the mediation of the face (through photography and sculpture) in relation to the first novel Roderick Hudson, James’s letters to the sculptor Hendrik Andersen, and his biography of the sculptor William Wetmore Story. The chapter next turns to the discourses of physiognomy and phrenology in James’s work and in late-nineteenth century visual culture. Physiognomic description and discourse in works such as The Ambassadors, The American, and The Sacred Fount suggest that James’s “hermeneutics” is not related to a traditional conception of physiognomy. It is instead related to a “way of seeing” or looking at faces and surfaces, which is extended to include the “physiognomy” of the book. Finally this chapter considers the preface to Roderick Hudson. Here James suggests a “system of observation” to be used in his archival or “archaeological” research into his past works. The archival concerns and the authorial profile James presents in the paratexts of the first volume are finally compared to late-nineteenth century “technologies of identity” and Derrida’s notion of an “archive fever.” Interlude One discusses James’s concern with private letters most forcefully expressed in his decision to burn a large number of his private documents in 1909. He also presents his concern with protecting the private text from public scrutiny in many of his tales from literary life and in his reviews of publications of letters. Although James was an advocate of the right to privacy, he shows that the decision to cover or reveal “the private” are authoritative practices which are complicit in establishing the “Figure” of the author and its presence in the literary work. Chapter Three discusses the physical format of books and the book as a particular commodity and fetishized object. In an attempt to situate the archival effort of James’s collected edition, its visual design, and the culture of books into which it was published the chapter discusses the figure of the library in The Portrait of a Lady and James’s own private library. These are compared to Walter Benjamin’s self-portrait as a collector of books. Together these archives and their archivists show a coincidence of concerns with ownership and books as expressions of their owners’ identities. The chapter proceeds to discuss collectors in James’s novels, such as in The Spoils of Poynton. The private libraries in and outside James’s edition testify to the book’s cultural iconicity and a desire for the book as a collector’s item and fetish in the 328 nineteenth century. This desire is reflected in the graphic design of books and in a virtual craze for decorative bindings driven partly by the belief that the furnishings of books expressed and incorporated their producers and their owners. With the mechanization of book production, the book became a specific kind of consumable decorative object promoting social improvement and individual taste. The chapter next turns to the specific format and marketplace of the collected edition. James’s edition is held up against major publications in the tradition. It is finally suggested that James not only attempted to cash in on the edition as a fashionable commodity. Through the visual design and the prefaces, he devised ways of reading and seeing that were meant to counter a culture of “inattentiveness” and “distraction.” Interlude Two offers a digression to two disciplinary measures James adopted at the turn of the century involving the body and the production of literary discourse: Horace Fletcher’s chewing regime and typewriting. These are seen as parallels to the disciplinary measures James’s employed in the re-construction and management of his literary corpus. Chapter Four returns to the figure of the author mediated through the frontispiece and relates the photographic mediation to James’s conception of the author in “the house of fiction” metaphor in the preface to The Portrait of a Lady, and to his final presentation of his experience with encountering his past authorial self in the last preface to The Golden Bowl. This chapter claims that James perceived the encounter with his own author-figure as profoundly mediated through architectural figures and in the medium of photography. James considered the photographic medium in terms of autobiography to which the many photographs of himself from youth to old age testify. The chapter ends with a consideration of James’s perception of his past works and his authorship through the figure of the silhouette in the preface to the last volume, which he presents as a figure capturing the distance between the revising and the original author. The silhouette and its ancient relationship with the origin of drawing as shadow-writing concludes this study with Derrida’s conception of its relation to the self-portrait and the ruin
Mediated intimacy in families: understanding the relation between children and parents
No full textMediating intimacy between children and their parents is still limited investigated and at the same time, we find that, emerging technologies are about to change and affect the way we interact with each other. In this paper, we report from an empirical study where we investigated the social interaction phenomena that unfold between children and their parents. We used cultural probes and contextual interviews to investigate the intimate acts between children and parents in three families. Our findings show that the intimate act between children and parents share a number of similarities with other types of intimate relations such as strong-tie intimacy (couples cohabiting). However, we also identified several issues of intimacy unique to the special relation between children and their parents. These unique acts of intimacy propose challenges when designing technologies for mediated intimacy in families. Author Keywords Children, parents, cultural probes, mediated intimac
Henry James's Europe
No full textAs an American author who chose to live in Europe, Henry James frequently wrote about cultural differences between the Old and New World. The plight of bewildered Americans adrift on a sea of European sophistication became a regular theme in his fiction. This collection of twenty-four papers from some of the world’s leading James scholars offers a comprehensive picture of the author’s cross-cultural aesthetics. It provides detailed analyses of James’s perception of Europe—of its people and places, its history and culture, its artists and thinkers, its aesthetics and its ethics—which ultimately lead to a profound reevaluation of his writing. With in-depth analysis of his works of fiction, his autobiographical and personal writings, and his critical works, the collection is a major contribution to current thinking about James, transtextuality and cultural appropriation
