440 research outputs found
Young, Caring and Struggling to Make Ends Meet:The Worsening Economic Circumstances of Scotland's Young Carers
Full text linkYoung, Caring and Struggling to Make Ends Meet:The Worsening Economic Circumstances of Scotland's Young Carers
Full text linkGet a Life, Chloe Brown
No full textGet a Life, Chloe Brown follows Chloe Brown, who spent most of her time at home due to her fibromyalgia, an illness that causes wide-body pain and fatigue. After a near-death experience, she decided to make a list to become more independent and rebellious. To help her do this, she seeks the help of her landlord.
The author of this book was a diverse romance writer who got started from self-publishing and social media. This book in particular follows a Black woman with a chronic illness, making it unique in the romance world.https://ecommons.udayton.edu/ul_popularromance/1011/thumbnail.jp
Review of Chloe Aridjis's Magic Lantern Show STILLED SHADOWS
No full textReview of the live magic lantern shows at Swedenborg House by the author Chloe Aridji
Fighting with the senses:exploring the doing and undoing of gendered embodiment in karate
Full text linkKarate is a sensuous martial art-come-sporting practice. Through a combinations of tacit exchanges of kicks and punches, sweaty touches, sweaty smells, aggressive shouts, communal laughs and helping tweaks of the body karate practitioners come to develop their practice, know their body and one-another, and assert their status in the karate hall. As a combative bodily practice, karate replicates an imagined, and often real, source of men’s power over, and distinction from, women. Yet in practice karate is an arena where women and men spar, sweat, and laugh together whereby, through inter-bodily, sensory, interactions, women can, and often do, out perform men. As such, karate presents a fruitful arena for exploring the sensory formation of gendered relations and embodiments of gender. Despite the integral role of the body and the senses to embodied participation in sport, and indeed in our gendered performances of self and distributions/assertions of power between women and men, exploration of the role of the senses in our sporting and gendered embodiment is largely absent from existing literature. This thesis argues that to understand gendered embodiment within karate requires reflection to these multidimensional, multi-sensory threads spun between sportsmen and women in embodied play. Building a sensory ethnographic framework for conducting the research, data was gathered from 9 months of ‘sensuous participation’ at 3 karate clubs engaging in mixed-sex and a women-only classes, 6 photo-elicitation interviews and 11 semi-structured interviews with women and men from across the three clubs, and reflections from my own embodied history as a karate athlete. The findings suggest that in both mixed-sex and women-only classes karate practice could ‘undo’ conventional performances of gender, and in turn gendered embodiments, through asking its participants to engage in a range of sensory bodily motions that are conventionally seen as masculine – such as combative movements and aggression – and feminine – such as control, elegance, and artistic performance. These embodied ways of being held magnified gender subversive potential in mixed-sex karate practice whereby ideas of men’s inherent superiority in sport could be challenged, and ideas of distinction between women and men could be challenged. Recognition of similarity as karate practitioners through shared physical engagements side-lined the importance of gender to practitioners embodiment. Together the findings of this thesis point towards the role of the minute, mundane, and thus often overlooked or unconscious elements of our bodily practice in ‘naturalising’, reproducing, or subverting gendered arrangements of power. In this way, this thesis contributes to sociological understandings of both embodiment and gender
Modern Painters, Vol. 1, No. 1: introduction
Full text linkA multi-author 'One Object' feature convened and introduced by Chloe Julius that responds to the first issue of the British art magazine 'Modern Painters' (1988
Obraz „Dafnis i Chloe” Parisa Bordona. Mitologia i erotyka
Full text linkThe paper discusses a Daphnis and Chloe painting from the collection of John Paul II Museum in Warsaw, attributed to the Venetian artist Paris Bordon. Starting with identification of the literary source – an ancient novel by Longus, recounting a love story of young shepherd Daphnis and his fiancée, Chloe – the author strives to determine the degree of its congruity with the depicted scene by conducting a detailed iconographic analysis of the latter. Furthermore, a comparative effort is made to place the picture in its supposed creator’s artistic oeuvre with regard both to its form and contents.The paper discusses a Daphnis and Chloe painting from the collection of John Paul II Museum in Warsaw, attributed to the Venetian artist Paris Bordon. Starting with identification of the literary source – an ancient novel by Longus, recounting a love story of young shepherd Daphnis and his fiancée, Chloe – the author strives to determine the degree of its congruity with the depicted scene by conducting a detailed iconographic analysis of the latter. Furthermore, a comparative effort is made to place the picture in its supposed creator’s artistic oeuvre with regard both to its form and contents
Daphnis and Chloe /
No full textIn 1831 Goethe called Daphnis and Chloe 'a masterpiece ... in which Understanding, Art, and Taste appear at their highest point, and beside which the good Virgil retreats somewhat into the background ... One would do well to read it every year, to be instructed by it again and again, and to receive anew the impression of its great beauty. 'Touching yet humorous, naive and at the same time highly sophisticated, Daphnis and Chloe is the story of a shepherd boy and girl who fall desperately in love yet find themselves facing great obstacles, because in their passion they behave, as the author says, even more awkwardly 'than rams and ewes.'.Marc Chagall's illustrations to the pastoral tale, which is set on the island of Lesbos, were inspired by his first-hand experience of Greece. His lithographs combine the Mediterranean lushness of the realm of Pan and Eros with memories of Russian Jewish folktales, and celebrate the lovers in a setting whose marvels of colour evoke Eden with a sumptuousness that is inimitably Chagall. Art of the highest order united with poetry of timeless appeal - the result is an irresistibly delightful book.This sole surviving bucolic novel of ancient Greek origin was written by Longus, a poet about whom nothing else is known, and dates to about the mid third century A.D. The lyrical beauty and sensual frankness of the story have found admirers from Shakespeare to Jacob Burckhardt, and have exerted lasting influence on European literature. It was not until 1810 that the first complete manuscript of Daphnis and Chloe was discovered, in Florence. This provided the basis for the present, superb translation, done in 1956 by Paul Turner.In 1831 Goethe called Daphnis and Chloe 'a masterpiece ... in which Understanding, Art, and Taste appear at their highest point, and beside which the good Virgil retreats somewhat into the background ... One would do well to read it every year, to be instructed by it again and again, and to receive anew the impression of its great beauty. 'Touching yet humorous, naive and at the same time highly sophisticated, Daphnis and Chloe is the story of a shepherd boy and girl who fall desperately in love yet find themselves facing great obstacles, because in their passion they behave, as the author says, even more awkwardly 'than rams and ewes.'.Marc Chagall's illustrations to the pastoral tale, which is set on the island of Lesbos, were inspired by his first-hand experience of Greece. His lithographs combine the Mediterranean lushness of the realm of Pan and Eros with memories of Russian Jewish folktales, and celebrate the lovers in a setting whose marvels of colour evoke Eden with a sumptuousness that is inimitably Chagall. Art of the highest order united with poetry of timeless appeal - the result is an irresistibly delightful book.This sole surviving bucolic novel of ancient Greek origin was written by Longus, a poet about whom nothing else is known, and dates to about the mid third century A.D. The lyrical beauty and sensual frankness of the story have found admirers from Shakespeare to Jacob Burckhardt, and have exerted lasting influence on European literature. It was not until 1810 that the first complete manuscript of Daphnis and Chloe was discovered, in Florence. This provided the basis for the present, superb translation, done in 1956 by Paul Turner
Rise with your class, not out of your class:auto-ethnographic reflections on imposter syndrome and class conflict in higher education
Full text linkThrough auto-ethnographic reflections of her experiences as a working class, ‘first generation’, student at a Russell group university, Maclean situates her working-class imposter syndrome within an elite university as grounded in feelings of cultural inadequacy. This chapter suggests that a working-class habitus is structurally and interpersonally marked as an undesired deficit within a Russell group university, encouraging working-class students to adopt middle-class embodiments and cultural tastes to both fit in and be respected. Yet, this chapter argues that a working-class habitus can also be utilised as a resource for accomplishment within HE. This chapter concludes that a working-class habitus is not solely a site of dislocation in Russell group universities, but can be utilised to challenge the reproduction of a class-value cultural hierarchy
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