1,721,115 research outputs found
Crafting women’s narratives: the material impact of twenty-first century romance fiction on contemporary steampunk dress
Full text linkScience fiction author K.W. Jeter coined the term ‘steampunk’ in his 1987 letter
to the editor of Locus magazine, using it to encompass the burgeoning literary
trend of madcap ‘gonzo’-historical Victorian adventure novels. Since this
watershed moment, steampunk has outgrown its original context to become a
multimedia field of production including art, fashion, Do-It-Yourself projects,
role-playing games, film, case-modified technology, convention culture, and
cosplay alongside science fiction. And as steampunk creativity diversifies, the link
between its material cultures and fiction becomes more nuanced; where the
subculture began as an extension of the text in the 1990s, now it is the culture
that redefines the fiction. As this shift occurs, women’s narratives have grown in
prominence and the treatment of female characters has become more three-dimensional
than those of Jeter’s initial cohort.
This new wave of authors like Gail Carriger, Cherie Priest, Ekaterina Sedia,
and Adrienne Kress write a generation of bold female leads that appeal to
millennial readers; this body of fiction is balanced by the efforts of steampunk
bloggers and academics like Suna Dasi, Diana M. Pho, and Jaymee Goh who
challenge steampunk’s canon for representation, diversity and appropriate
treatment of race, gender, and sexuality. As more authors, makers, cosplayers,
and academics work towards intersectional creativity and balanced narratives,
steampunk becomes more focused on personal storytelling and less anchored to
a literary canon. In this thesis, I investigate in what ways – and with what tools –
women craft their own narratives and cultivate representation inside the
steampunk cultural space, thereby transforming it. I explore the symbiotic nature
of women’s storytelling and women’s dress in steampunk culture, tracing the link
between character descriptions and development in fiction with the material
qualities of women’s convention looks, fashion designs, cosplay, ‘steampunk
light’ (casual street-style looks), styled photoshoots, and social media content
and interactions.
In my study of women’s narratives, I place particular focus on the impact
of steampunk romance and romantic fiction – and the expectation of women to
write romance – as the cypher linking inspiration to creative practices. My
investigation is an intertextual probe into the osmotic nature of fiction and
fashion, analysing Anglo-American steampunk writing and dress practices’
interplay. This analysis hinges on two theoretical points: narratives of becoming
and being gender performance (Butler 1990, 1991, 1993; Halberstam 1998;
McRobbie 1980, 2004) and inverse ekphrasis (Heffernan 1991 and Domínguez et
al. 2015), a condition where the literary inspires life. At the thesis’s close, it will
have provided the first detailed academic analysis of steampunk women’s fashion
and gender performance as they are both written and informed by the contexts –
and connotations – of romance fiction
From Wunderkammern to Kinect: The Creation of 'Shadow Worlds'
No full textThis paper focuses on two projects, Still Life No. 1 and Shadow Worlds | Writers' Rooms [Brontë Parsonage], to reveal the creative approaches the authors take to site, technology, and the self in their production of shadow worlds as sites of wonder. Informed by the uncanny (re-animation and the double) and an interest in the limen (thresholds in the real and virtual realms), the projects explore white light and infrared digital 3D scanning technologies as tools for capture and transformation. The authors will discuss how they suture the past with the present and ways that light slips secretly between us, revealing other realms
Practice disrupting theory: art rethinking the subject
Full text linkThis practice based research project explores contemporary human subjectivity. What happens when the voice emanating from a calmly spoken subject no longer speaks sense? Or when the human-face disappears to be replaced by a single squared-plane of a mirrored-cubed head? Or even, when a disembodied hand performs a series of extemporaneous gestures on the ceiling? Each instance of these appears to destabilise the most unifying and recognisable characteristics of selfhood, as expressed through meaningful speech, the face, and bodily sovereignty. I ask what is, what can be, ‘I’ before/after the enunciation of ‘I am’. Alongside my own work, this thesis examines works by Antonin Artaud, Mira Schendel, Bracha Ettinger, Zach Blas and Tony Oursler. Each example considers the modern subject’s inability to wholly convey all aspects of lived experience through culturally accepted modes of representation. Artaud, in his writing, drawing, and performance works laments his inability to fully express his complete being directly in spoken words and writing. Oursler uses complex indoor and outdoor sound and light installations, with their cacophony of disembodied talking heads, to explore contemporary subjectivity as both fragmented and multiple.
Using semiotics, psychoanalysis and feminist theory I explore what kinds of understanding art can offer us into contemporary identity and selfhood. A close analysis of my chosen artists and related works shows a lineage of artworks that function beyond the collective validation of an established artist’s body of work; works, whose kindred affective connections traverse boundaries of ‘ism’s’ and oeuvres. The findings of this research indicate the presence of an overlooked reading and trajectory of artworks which offer a rich insight into the development, operation, and possibilities for individual and collective subjectivities
Respectability will not save you: radical experiments in the hostile environment
No full textEngaging autotheory, this practice-led study was developed in the contemporary moment when the severity of racism and anti-blackness has been amplified by a sequence of catastrophes caused by the hostile environment. The hostile environment has concertinaed racialised responses to recent epidemiological, environmental, and socio-political disasters, such as the COVID-19 pandemic, the Windrush deportation tragedy and black death.
My practice-led research explores the role artists have in holding dominant systems of racialised power to account, specifically in times of socio-political, environmental, and epidemiological crises. Building on Edwidge Danticat’s research, I theorise that creating dangerously is a necessary communion between artist and audience - to refuse and imagine new ways of being under conditions of hostility. This study expands upon how affect can be implemented to encourage radical change within audience members. By radical change, I mean holding power to account specifically through individual commitment to race literacy, institutional reform through enmeshing decolonial strategies in education, curatorial research, abolition of the police and racial and gender equity. Underlining this
research is an interrogation of how numbness can become a breakdown between artist, artwork and audience
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
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Investigating disorientation through the adoption of role-play in contemporary fine art practice
No full textThrough my programme of practice-led research I have used role-play as a vehicle
for the exploration of identity and politics in a series of art works encompassing
video, drawing and photography. This research discusses the highly spatialised ways
of describing cultural identity, covering aspects of: film, mapping, spatial practices
and theory, performativity and translation, as well as a body of art works by the
artist- researcher and other contemporary artists. I move through overlapping terrains
of female geographers, cultural and visual theorists, filmmakers, architectural
historians and theorists, sociologists, psychoanalysts, art writers and artists.My primary focus is role-play and identity with relation to the experience of place
and displacement - role-play for me is a strategy for the physical navigation and
negotiation, translation and reconciliation within a given site. In my practice I make
use of the characters of the Navigator and the Ambassadress to explore physical and
linguistic aspects of the description and translation of space. I will discuss these
roles, through the art works generated, firstly to explore the legacy of female
explorers and the rise of spatial language and metaphor to examine the female
experience of space, and secondly to interrogate the notion of disorientation and
dislocation; of being out of place.The written thesis is constructed around two main sections - mirroring the two roles
in my practice: that of the Navigator and the Ambassadress. The submission consists
of art works made during the doctoral research programme, employing these roles to
produce separate bodies of drawing, photography and multi-screen video works that
reflect my primary themes
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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