11,051 research outputs found
'The cracked mirror': Anne Sexton's poetics of self-representation
No full textThis thesis re-evaluates the work of the poet Anne Sexton (1928-1974), concentrating, in particular, on the indeterminacies, contradictions and aporia which it finds to be characteristic of her ostensibly frank and self-revelatory writing. The study is based on a close textual
analysis of Sexton's writing, is informed by oststructuralist theories, and is sustained by an
examination and discussion of archive collections of her previously unpublished papers. In seeking an understanding of Sexton's poetics, the thesis identifies and interrogates the strategies of denial and obfuscation apparent in her own explication of her work - principally, by scrutiny of the unpublished, and previously unresearched, drafts of a series of lectures
which she delivered in 1972. Chapters One and Two consider the origins of `confessional' or - Sexton's preferred term - 'personal' poetry and reassess her place within contemporary poetry. They suggest that
Sexton's writing is engaged in a process of negotiation and contestation, both with the boundaries and expectations of confessionalism, and with the strictures of T. S. Eliot's theory of `impersonality'. In support of these arguments, Chapter Two offer a reading of Sexton's
little-known poem, `Hurry Up Please It's Time', alongside its intertext, Eliot's The Waste Land. Chapter Three reassesses received views of the supposedly beneficial interrelationship between confessional speaker and reader. It examines Sexton's appropriation of dramatic
masks and personae and her use of metaphors of striptease and prostitution, and suggests that these are employed simultaneously to appease and to repel an intrusive audience. Similarly, Chapters Four and Five trace Sexton's problematisation of two previously-accepted tenets of confessional poetry: its status as autobiography and its truthfulness, drawing attention to the techniques employed in order to give the impression of both. Chapter Six considers Sexton's
problematic engagement with a language which is not malleable, transparent, and referential but, rather, is experienced as uncooperative and occlusive. Finally, the thesis recuperates Sexton from the common charge of narcissism, arguing that it is the writing, rather than the poet, which is self-reflexive and self-conscious. In this respect, it concludes that her work - perhaps unexpectedly - anticipates many of the tendencies of postmodernist writing
Anne as Pagan, Anne as Queer
No full text‘Anne as Pagan, Anne as Queer’ is a critical and creative answer to the question: How do we construct Anne Shirley, and what does she mean to us? This creative research submission is a work of fanfiction, specifically a mash up based on Anne of the Island, L.M.M. Montgomery’s sequel to Anne of Green Gables. In this short work of fiction (under 4 thousand words) Anne is revealed as a changeling, one of the Faerie Folk, and also a being not strictly male or female; sometimes neither, sometimes both. The mash up is based on the last two chapters of Anne of the Island, the scenes in which Gilbert Blythe is seriously ill and Anne realises she loves him. This realisation causes Anne, in this version, to reveal to Gilbert that she is both non-human and not a girl, and to use Faerie magic to save Gilbert’s life. Anne’s revelation causes Gilbert a great relief, as he has been keeping a secret also - that he too is queer. The piece has an accompanying research statement and reflection, that reflects on the ways the contributor/author interprets Anne, as a being troubled by gender, and not strictly gender conforming. The much-loved scene from Anne of Green Gables in which Anne realises she is not wanted by the Cuthberts because she is not a boy is inserted into the mash up (as a memory) as this scene is the principal cause for the contributor’s identification with Anne as a gender non-conforming figure who resists gender expectations. Overall, this creative and critical work and reflection queers both Anne as a character and the Anne of the Island novel.Book chapter - work of fiction with a critical reflective essa
#AnneFaber Een onderzoek naar de wisselwerking tussen traditionele en sociale media rond de vermissing van Anne Faber
No full textDe vermissing van Anne Faber, een 25-jarige studente die uiteindelijk bleek te zijn verkracht en vermoord door een zedendelinquent die eerder geen tbs kreeg opgelegd, domineerde begin oktober 2017 zowel de Nederlandse traditionele als sociale media en maakte veel los in Nederland. Na veel emotie sloeg de toon om in woede: had het rechtssysteem de dood van Anne Faber kunnen voorkomen? De media-aandacht voor beide perspectieven, die zorgden voor maatschappelijke onrust en druk op de overheid, verspreidde zich gelijktijdig over zowel traditionele als sociale media. Sociale media zijn niet meer weg te denken uit het medialandschap en daarom is aan de hand van de media-aandacht rond de vermissing van Anne Faber tot een vernieuwing gekomen van de criteria van een mediahype zoals eerder opgesteld door Vasterman (2005). Een kwantitatieve inhoudsanalyse van berichtgeving in Nederlandse online en offline media laat zien dat er op hetzelfde moment een mediabrede mediahype ontstond, waarbij er sprake was van een constante wisselwerking tussen alle mediagroepen. In het huidige medialandschap kan daarom niet meer worden gesproken over verschillende mediahypes die aanleiding zijn voor extreme aandacht in een andere mediagroep, maar ontstaat één mediahype die betrekking heeft op het gehele medialandschap waarbij alle mediagroepen hun eigen karakteristieken behouden. Media hebben de dood van Anne Faber gezamenlijk tot een signal crime geconstrueerd, waarbij door emoties op te wekken een roep vanuit de samenleving is ontstaan dat het rechtssysteem moet worden aangepast. Dit proces heeft plaatsgevonden door een verandering van perspectief van het human interestframe naar een schuldvraag in brede zin, waarbij interne ‘triggers’ leidden tot een mediabrede wisseling in aandacht en verschuiving van perspectief. Bij een emotionele mediahype als die van Anne Faber kan daarom niet worden gesproken van een vaste duur en verloop van nieuwsgolven, maar is de periodisering afhankelijk van veranderingen in perspectief en daarmee verandering in framegebruik. Een explosie van interactie waarin burgers dominant waren zorgde ervoor dat media altijd ergens over konden berichten. Het verloop van deze mediahype bevestigt dat een aanpassing van het concept mediahype in het huidige medialandschap gerechtvaardigd is
Archétypes d’héroïnes et de héros de l’Antiquité à l’Europe : d’Antigone à Simone Veil, de César à Napoléon, et de quelques autres
No full textAnne Gangloff, Université Rennes 2, UMR 6566 CReAAH-LAHM S’il est encore trop tôt pour parler de héros et héroïnes européens, comme le soulignait Jean-Dominique Giuliani, Président de la Fondation Schuman, lors d’un colloque organisé par la Chaire Jean Monnet FABER à Rennes en janvier 2023[1], leur héroïsation est peut-être en construction et la question se pose de savoir si elle aboutira ou non. Alors qu’aujourd’hui beaucoup de médiévistes revendiquent leur période comme étant le fondement ..
Dark angels : a study of Anne Rice's Vampire chronicles
No full textThe international success of Anne Rice's Vampire Chronicles, and the release
of the film Interview with the Vampire (based on her novel of the same name) has
fueled an explosion of interest in the vampire genre, resulting in further
incarnations of the vampire story in fiction and film. This study attempts to
analyse Rice's development of the vampire narrative in relation to a body of
novels and short stories which comprise a recognizable genre.
The first chapter has three sections: an Introduction comprising a comparison
between the Chronicles and Bram Stoker's Dracula,- a study of the Chronicles as a
metaphor for homoeroticism and AIDS; and a study of the psychoanalytic aspects
of vampirism linked with the concept of Rice's vampire as a Sadean hero. The
second chapter has two sections: an analysis of Rice's representations of
femininiiy; and a study of the myths of womanhood employed in the novels,
together with the origins of these myths. The third chapter has two sections: a
focus on the complex self-conscious and moral life of Rice's vampires in relation
to contemporary consciousness and subjectivity; and a comparison of Rice's
treatment of genre, historical romance and erotica with the vampire narratives of
her contemporaries. The fourth and concluding chapter is a summary of Rice's
treatment of genre, gender and religion in relation to evolving feminist, cultural
and psychoanalytic debates, including reference to material from her other
novels.
In her self-conscious appropriation of the vampire tradition, Rice introduces a
wider scope to the formulaic elements of the gothic genre, interweaving different
genres with the gothic horror story. Her innovative approach to the vampire
novel, with its complexity of intermingling issues, leaves many unanswered
questions. It is the unresolved nature of the contradictions and paradoxes intrinsic
to Rice's work that disturb and generate further debate
Poésie de l'Art Faber. Quand les poètes racontent et façonnent les mondes économiques
No full textInternational audienceL'Art faber rassemble les oeuvres d'art ayant en commun la représentation du travail et plus largement des mondes économiques. Il forme un corpus en grande partie méconnu, "tour beau et trop puissant pour rester si peu célébré", comme le regrettait Umberto Eco, un de ses soutiens pionniers. La poésie n'échappe pas à ce constat. Pis, d'aucuns pensent que les poètes ne sont jamais inspirés de ces univers d'Homo faber, ce fabricant, porteur des mondes économiques. De façon inédite, cet ouvrage illustre combien, au contraire, poètes et poétesses les ont souvent convoqués dans leurs oeuvres, tant pour les raconter que pour les louer ou les critiquer, au point même de contribuer à les façonner.Préambule “Mon métier préféré” – Sophie Nauleau L’Art faber en brefLa fabrique du spicilège Partie 1 La poésie confrontée aux mondes d’Homo faber, une longue histoire La timide cohabitation entre deux mondes… … qui finissent par se rapprocher pleinement Partie 2L’Art faber poétique : des poètes aux profils variés Recueil Émile Verhaeren, poète de l’Art faberPartie 3 Une poésie qui raconte les mondes économiques Les paysages et architectures faberiens Homo faber et ses activités Sous la plume, les artefacts d’Homo faber “Made in USA” : un exemple de poésie de l’Art faber Partie 4 Une poésie qui façonne les mondes économiques Une poésie didactique Une poésie engagée Contributeurs Index des poètes cité
INSIGHT - Belgian artists at Homo Faber
No full textINSIGHT - Belgian artists at Homo Faber is an exhibition at BeCraft of twelve Belgian artists represented by Homo Faber/ Michelangelo Foundation. It gives a significant insight into the quality of contemporary applied arts in Belgium. The Exhibitors are: Kris Campo, Dolorès Gossye, David Huycke, Françoise Joris, Anne Marie Laureys Ceramics, Helena Schepens, Antonino Spoto, Thalen & Thalen, Chantal Tramasure, Antoine Van Loocke, Vera Vermeersch, Arlette Vermeiren. My object Kissing Spheres #1 was selected and exhibited
Interview with Anne Russell
No full textInterview with Anne Russell, playwright and author of several books on local history, including Wilmington: A Pictoral History
Translations of the Self: A.E. Housman and Anne Carson, Between Scholarship and Creativity
No full textIn my PhD thesis I have explored some aspects of the interface between classical scholarship and creativity, through the work and careers of two scholar-poets, Anne Carson (1950 - ) and A.E. Housman (1859-1936). I have shown how, within their social and cultural contexts, they attempted to craft their careers by using both genres of their work to help them construct carefully-crafted public profiles, and how these self-translations within their careers relate to received versions of their work by different readerships. By connecting explorations of their social and cultural contexts with their biographies and with close readings of their scholarly and creative work, I explore the shifting relationship between creative and scholarly ‘cultural fields’, as well as the recent social, cultural, and institutional changes which have turned these fields from ‘homogeneous poles’ to ‘heterogeneous poles’ (to use Pierre Bourdieu’s terms). I examine the surprising similarities in the unusual personalities of Carson and Housman, who both have, or had, a tendency to use their reputations for independence and reclusiveness to help them navigate around important issues and conflicts which could have threatened their success. I show how they have constructed versions of themselves, both within and beyond their writings, which have enabled them to make grand assertions of the self in the teeth of social and cultural necessities
INSIGHT - Belgian artists at Homo Faber
No full textINSIGHT - Belgian artists at Homo Faber is an exhibition at BeCraft of twelve Belgian artists represented by Homo Faber/ Michelangelo Foundation. It gives a significant insight into the quality of contemporary applied arts in Belgium. The Exhibitors are: Kris Campo, Dolorès Gossye, David Huycke, Françoise Joris, Anne Marie Laureys Ceramics, Helena Schepens, Antonino Spoto, Thalen & Thalen, Chantal Tramasure, Antoine Van Loocke, Vera Vermeersch, Arlette Vermeiren. My object Kissing Spheres #1 was selected and exhibited
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