1,720,971 research outputs found
'Rat Phones, Alligators, Lemon Pepper Wet:The New Absurd in Atlanta'
No full textIn his review of the television series Atlanta (dir. Hiro Murai 2016, 2018), Jesse David Fox comments on the series’ closeness to the Theatre of the Absurd, disputing creator Donald Glover’s statement that Atlanta is ‘Twin Peaks with rappers’ (2016). Fox opines that each episode is an Absurdist play. In this chapter, Jenna Clake argues that Atlanta should be understood in terms of what she has elsewhere termed the new literary aesthetic of the New Absurd (Clake 2018), and is thus at least as much akin to Absurdist poetry as to drama. Clake argues that in an era of political and social turmoil on both sides of the Atlantic – where issues of race, class, gender, and sexuality are irrevocably linked with concerns of how individuals can survive in a capitalist society – a new iteration of the Absurd has emerged. In this chapter, using examples and theory from Absurd drama, and poems by Rachael Allen, Jennifer L. Knox, and Luke Kennard, Clake compares Atlanta and poems of the New Absurd thematically, rather than in terms of their mediality. She explores the New Absurd and Atlanta’s focus on perpetual disappointment, and explicates their focus on ‘static quests’, the loss of grand narratives, and human fallibility in the face of neoliberalism. She demonstrates how these concerns deliberately foster readers’ and viewers’ investment in conspiracy theories, and thereby establishes that Atlanta treats its viewers as readers of New Absurdist poetry, deliberately undermining the viewers’ critical perceptions and understanding of narrative. <br/
Between Nihilism and Laughter:Jenna Clake on two collections that explore despair and hope
No full textJenna Clake reviews Claudine Toutoungi's Emotional Support Horse and Caroline Bird's Ambush at Still Lake
Between Nihilism and Laughter:Jenna Clake on two collections that explore despair and hope
No full textJenna Clake reviews Claudine Toutoungi's Emotional Support Horse and Caroline Bird's Ambush at Still Lake
Mslexia:Showcase: Poison
No full textJenna Clake introduces her selection of poem and short stories on the theme of 'poison'
Mslexia:Showcase: Poison
No full textJenna Clake introduces her selection of poem and short stories on the theme of 'poison'
Increments of Noticing:Jenna Clake on three collections that explore the politics of how we engage with the natural world.
No full textIn this review, Jenna Clake reviews three recent ecopoetry collections: Slyvia Legris's The Principle of Rapid Peering; Isabel Galleymore's Baby Schema; and Tim Tim Cheng's The Tattoo Collector
Increments of Noticing:Jenna Clake on three collections that explore the politics of how we engage with the natural world.
No full textIn this review, Jenna Clake reviews three recent ecopoetry collections: Slyvia Legris's The Principle of Rapid Peering; Isabel Galleymore's Baby Schema; and Tim Tim Cheng's The Tattoo Collector
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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