430 research outputs found
Translation and response between Maurice Blanchot and Lydia Davis
No full textWhen an author translates a text by another writer, this translation is one form of a response to that text. Other responses may appear in their own writings that are more inflected with their authorial persona. Lydia Davis translated six books by Maurice Blanchot, including fiction and theoretical writings. Blanchot’s concept of the récit privileges non-conventional forms of narrative and it can be considered to have influenced Davis, a view shared in critical writing about Davis. However, responses to his fiction can also be found in Davis’s work. This article reads Lydia Davis’s story “Story” as a response to Maurice Blanchot’s récit, La Folie du jour, translated by Davis as “The Madness of the Day”. Both texts develop a narrative that questions the possibility of arriving at a single story: Blanchot’s narrator cannot tell the story of how he came to have glass ground into his eyes, while Davis’s narrator must try to understand a contradictory story told to her by her lover. However, Davis responds to Blanchot by reversing the perspective in the story: where Blanchot’s narrator must and cannot create a story that explains his situation in a judicial/medical context, Davis’s narrator is struggling to understand her lover’s story which does not explain the situation that they find themselves in. Davis’s narrator is therefore motivated by an emotional need to find an acceptable story that is absent from Blanchot’s narrator. This difference in motivation is central to the difference between Davis’s and Blanchot’s approach, and complicates any reading of his influence on her because she responds to his text in her own
Nursing students, class of 1984
No full textClass portrait of 1984 nursing graduates Virginia Adams, Linda Anderson, Rachel Ball, Pat Battenburg, Joni Betz-Ellis, Sheila Blair, James Bryant, Cynthia Buff, Pam Burnette, Linda Caldwell, Linda Cambareri, Donna Carey, Lora Cline, Lynn Corbin, Sheila Cutshall, Lynne Davis, Martha Davis, Wanda Edwards, Aileen Fleming, Susan Frye, Bill Gearing, Leslie Hamlin, Kristi Hickson, Jennifer Hirschy, Dana Hooper, Linda Hopp, Gina Hudspeth, Leslee Hutchins, Rhonda Jackson, Kathy Jenkins, Deborah Jones, Liz LaPrade, Holly Ledford, Patricia Macon, Marda Messick, Karen Moss, Donna Peek, Debbie Queen, Bennett Riley, Bobbie Sebastian, Beth Shields, Gloria Simpson, Karen Stewart, Sarah Thomasson, Deb Utley, Debi Walls, Jim Ward, Susan Wein, Karen Wendt, Regina Woodard
Art and the unconscious : a semiotic case study of the painting process
No full textThis dissertation is an attempt to design an interpretation model for the comprehension of unconscious content in artworks, as well as to find painting techniques to free the unconscious mind, allowing it to be expressed through artwork. The interpretation model, still in its infancy, is ripe for further development. The unconscious mind is a fascinating subject—in art production as well as in many scientific fields. This hidden part of the mind, being the source of creativity, constitutes an important foundation for many possible and valuable inquiries in multiple areas of knowledge. In the present study, the unconscious is approached from an art-educational perspective.
The nature of the unconscious is addressed through the theories of Carl Gustav Jung and Charles Sanders Peirce, as well as through the information gained from data the author produced herself during the experimental painting process she devised for this study. For psychological distinctions not addressed by Jung, the theories of Sigmund Freud are used to forward this inquiry into the unconscious mind.
A research method was created to bring Peirce’s theories into consonance with Jung’s amplification method. Since Peirce’s theories are challenging to read, to avoid misinterpretation, the author used Phyllis Chiasson’s 2001 book Peirce’s Pragmatism: The Design for Thinking as a secondary source. Peirce’s three modes of reality—firstness, secondness, and thirdness—were utilized to interpret artworks. This three-mode reality allows interpreters to reflect on their subjective feelings and then to compare them to collected data. The interpreters’ intuitive self-interpretations often correlate well with the more objective data.
In this approach to interpretation, the work of art is seen as a sign, in the Jungian as well as in the Peircean sense, and interpretation seeks to discover a sign’s objects—icon, index, and symbol. Additionally, the objects are studied in combination with Peirce’s designation of the sign’s character elements—sinsign, qualisign, and legisign. Peirce’s theory offers a logical and productive structure for approaching a variety of signs and reaching a multiplicity of interpretations.
Jungian theories inculcated a combined psychological and artistic perspective for the interpretation of artworks. Jung’s method of amplification is an effort to bring a symbol to life, and it is used as a technique to discover—through the seeking of parallels—a possible context for any unconscious content that an image might have. In amplification, a word or element—from a fantasy, dream, or, in this study, artwork—is associated, through use of what Jung called the active imagination, with another context where it also occurs. It must be remembered that unconscious images in artworks do not easily open themselves up for interpretation. One way to interpret possibly unconscious images is for the interpreter to become vulnerable by employing his or her own unconscious mind to interpret an artwork; such use of the active imagination can enable a subjective experience of the artwork on the part of the interpreter, who might thereby uncover unconscious content.
Moreover, in this study, Jung’s theory of archetypes is employed, in parallel with Peirce’s and Jung’s theories of the sign, to illuminate an artwork’s images by connecting them with collective unconscious archetypes. The author relied upon The Book of Symbols: Reflections on Archetypal Images (Ronnberg and Martin 2010) as the main source for interpreting possibly unconscious elements in the artworks. This approach is especially powerful when artists interpret their own artwork—possibly leading to a galvanizing self-discovery as they revisit past encounters, personal highlights, and other pieces of unconscious content that might reveal previously unknown meaning important to their life. By comparing archetypes to the unconscious content in their own lives, people can discover themselves.
Unconscious phenomena were approached on both the theoretical and empirical levels. Different methods and ideas were used to stimulate the author’s unconscious thinking while performing artwork analyses of three paintings: surrealist Salvador Dalí’s (1904–1989) Assumpta Corpuscularia Lapislazulina; abstract expressionist Jackson Pollock’s (1912-1956) The Deep; and one painting by the author herself, and for which the process of painting is videorecorded (www.astagallery.com/academic.html).
With regard to the third painting interpreted, the author is the study subject, and her artistic production is used as an opportunity to explore the unconscious mind. During the act of painting, an attempt is made to free unconscious thinking by fusing Dalí’s and Pollock’s methods as well as by testing multiple other methods. The author’s artistic production was conjoined with use of a technique that is called the verbal protocol method, which generates additional data not necessarily visible in the final artwork. This method unseals the artist’s tacit knowledge, which in normal circumstances remains silent.
In the verbal protocol method, the author, while engaged in the act of painting, speaks aloud the stream of consciousness that accompanies and guides the art-making activity; the recorded and transcribed monologue from the artistic production is supplied, in both Finnish and English, in appendices. This thinking-aloud technique allows a person to become more self-aware and to create more solutions while struggling with emergent artistic problems. Such narratives can reveal more about the painting than the completed artwork alone can convey. Along with the artist’s finished painting and the videorecorded material, narratives produced during the painting activity were interpreted. Moreover, the discoveries arising from the author’s interpretation of her own artwork are correlated with some of the latest research on the unconscious.
This study allows the reader-viewer an intimate glimpse into the author’s subjective painting experience and demonstrates the participation of the unconscious in an artwork’s creation. The interpretations methodology constitutes an interpretation model suitable for other artists and art educators to follow.
Keywords: unconscious, art, archetype, mandalaei tietoa saavutettavuudest
Mobile Press-Register sleeve MP0116257
No full textLeFlore High weight-lifters / Leflore High School weight room / Front row Tameka Perkins, [Achaia] Autrey, Talisha Williams, [Jahmal] Kidd, Cary D. Langham, Wenston Clement III, Racquel Raspberry, David Riley, Quincy Wright, 2nd row Coach Addison, Darnell Kenndey, Crystal Fisher, Chris Derks, Porsche Davis, Carlos Terry, Regin Goubil, Winston Gulley, Irvin Lewis, Devin Kennedy, Coach Guyton, Third Row, Randy Johnson, Jarvis Chambers, Melvin Jones, Natel Wallace, Toya McGinney, Kaycee Goubil, Kristen Taylor . . . Tolayn Dixon, 4th row Alton Jackson, Sara Comstomck, Deborah Everett, O. J. Reeves, Erica Perkins, Billy Taylor, Shadonea Clark, Kelvin Simpson / [Work order and notes included
Mindscapes: Laura Riding's poetry and poetics /
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.Esta tese propõe uma leitura revisionista da poesia contemporânea através do exame do caso de um dos mais esquecidos escritores norte-americanos do século XX: Laura (Riding) Jackson (1901-1991). O objetivo é demonstrar que Riding não apenas possuía uma poética definida e singular, mas que ela permanece uma das instâncias mais extremas e paradoxais do modernismo anglo-americano, a ponto de Riding abandonar a escrita da poesia em 1938. Recorrendo a conceitos de "formação do cânone" bem como às noções de "discurso" e "função do autor", em Foucault, investigo a construção do cânone da poesia moderna anglo-americana, recuperando o contexto e as circunstâncias da ocultação de Riding. Enquanto cubro os "discursos" poéticos em circulação na primeira metade do século XX-o "imagismo" de Pound, a "dissociação da sensibilidade", "impersonalidade" e "tradição" de Eliot, a "unidade orgância" e "ambigüidade" da Nova Crítica-ofereço um panorama crítico de modernismos alternativos sendo articulados à época. Minha intenção é demonstrar que os poemas de Riding são expressões vigorosas de um escritor para quem "a mente pensando se torna a força ativa do poema", para usar a apta formulação de Charles Bernstein. Entre minhas descobertas sobre as várias e complexas razões que levaram à não-canonização de Riding estão a hegemonia da Nova Crítica, o exílio voluntário de Riding da cena literária (onde são feitas ou desfeitas as reputações), sua recusa em ser antologiada, bem como em ser explicada em termos críticos que não os dela. Todos esses fatores, mais a "dificuldade" de sua poesia, contribuíram para fazer de Riding "a maior poeta esquecida da poesia norte-americana", como escreveu Kenneth Rexroth. Ajudado pelos insights de dois importantes críticos de poesia norte-americana, Charles Bernstein e Marjorie Perloff, defendo que a "poesia da mente" de Riding-onde o que está em jogo é que o que pensamos ser a nossa realidade-representa uma mudança radical no paradigma da poética modernista: de uma poesia centrada na imagem para uma poesia centrada na linguagem. Focalizando a experiência consciente e o tempo duracional do pensamento presente em seus poemas, concluo que as "pensagens" de Riding têm o objetivo preciso de constatar um fato universal: enquanto seres humanos e pensantes, estamos numa condição permanente chamada linguagem
Embracing the Market: Entry into Self-Employment in Transitional China, 1978-1996
No full textThis paper introduces labor market transition as an intervening process by which the macro institutional transition to a market economy alters social stratification outcome. Rather than directly addressing income distribution, it examines the pattern of workers’ entry into self-employment in reform-era China (1978-1996), focusing on rural-urban differences and the temporal trend. Analyses of data from a national representative survey in China show that education, party membership and cadre status all deter urban workers’ entry into self-employment, while education promotes rural workers’ entry into self-employment. As marketization proceeds, the rate of entry into self-employment increases in both rural and urban China, but urban workers are increasingly more likely to take advantages of the new market opportunities. In urban China, college graduates and cadres are still less likely to be involved in self-employment, but they are becoming more likely to do so in the later phase of reform. The diversity of transition scenarios is attributed to rural-urban differences in labor market structures.Market, Rural China, Self-employment, Transition, and Urban China
A perfect storm: embodied workers, emplaced corporations, and delayed reflexivity in a Canadian 'Risk Society'
No full textAt the turn of the 21st century, an occupational disease epidemic began to unfold in Sarnia, Ontario, home to the petrochemical complex known as Canada's 'Chemical Valley.' Given the long latency periods for these diseases, the hazardous exposures that produced them would have occurred over a period of decades during the latter 20th century. This suggests a paradox: what accounts for unionized Canadian men working for decades in conditions that posed such grave risks to their health? Or, put in terms of Ulrich Beck's compelling and influential model: given that Chemical Valley during the second half of the 20th century constituted a quintessential "risk society" of the modern West, where were the forces of "political reflexivity" – resistance leading to change – typically provoked by the excesses of such societies? In this article, I seek to resolve this paradox with a political ecology approach that focuses on workers' embodied experience in the micro-environment of their workplace and community, as well as on the material and social emplacement of petrochemical facilities in the region. The analysis reveals a 'perfect storm' of converging ecological, cultural, political, and economic conditions that allowed local corporations to achieve extraordinary power. Consequently, even as activism for occupational and environmental justice was effecting change in similar industrial centers throughout Ontario and the Great Lakes region, these changes failed to take hold in Chemical Valley. The article concludes by suggesting that those 20th century power dynamics have continued into the 21st century, where reflexivity delayed might well have atrophied into reflexivity denied.Keywords: embodiment, emplacement, risk society, petrochemical corporations, industrial workers, Canada, Great Lakes regio
Our elders lived it: American Indian identity and community in a deindustrializing city.
No full textIssues of ethnic identity have gained increasing importance in the United States (and elsewhere) as disenfranchised minority groups seek to improve their circumstances and promote positive images of themselves. These identity politics in contemporary society have been paralleled by a corresponding literature in the social sciences on the nature of identity as a social construct or process, in which a choice is often made between subjective vs. objective approaches that are ultimately rooted in Cartesian dualism. This dissertation takes a different approach to the analysis of ethnic identity--one that is rooted in the philosophy of C. S. Peirce, which transcends Cartesian dualism by offering a semeiotic notion of the self. The particular ethnic group considered is the urban Indian community of Flint, Michigan. The political-economic history of Flint as a deindustrializing Midwestern city has shaped its demographics such that the contemporary American Indian population there falls into three main categories: (1) those who grew up on reservations or in other non-urban Indian home communities; (2) those who grew up in households where the parents grew up in such a community; and, (3) those who now, as adults, choose to identify themselves as Native American, but who grew up in households where the parents had no connection to an Indian home community. The dissertation argues that Native home communities constitute key sites for the formation of an American Indian identity which is then reinforced as those who grew up in such communities continue to interact with one another. Looking at both the official and informal institutions of Flint's urban Indian community, and at the Indian home communities from which some people came, the dissertation considers various kinds of Indianness. Emphasis is given to the most subtle manifestations--the values, habits, and practices that characterize the daily interactions of those who grew up in non-urban Indian home communities. A semeiotic notion of the self is utilized to clarify and illuminate these highly significant, yet often overlooked, aspects of American Indian identity. An essential connection is therefore shown between identity and community.PhDAmerican studiesCultural anthropologyEthnic studiesSocial SciencesUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/131231/2/9840561.pd
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