1,125 research outputs found
Gillian Rae Perry, Composition
No full textAfar We Go (2015); Hiding isn\u27t Home (2016); Insufficiency (2016); the Sirens the Silence (2016); One of the Imaginaries (2016); A Fixed Idea (2016); Only the Children Know (2016); another shout into the void (2016); Doors Windows Chapters (2016
"Ice Road" by Gillian Slovo. [review - radio script]
No full text"Ice road" is a novel of nineteenth century proportions by prolific British author Gillian
Slovo. With its broad canvas of Russian history and large cast of characters, led by a
young woman called Natasha, it consciously harks back to Tolstoy’s "War and Peace".
The story begins with a cleaner called Irina Davydovna Arbatova, a pragmatic
worker born at the beginning of the twentieth century, who by various chance encounters
becomes involved in the family of Boris Aleksandrovic Ivanov, a party official, one of the new soviet ruling class. The setting is Leningrad, and the year is 1934
Editing Aphra Behn in the Digital Age: An Interview with Gillian Wright and Alan Hogarth
No full textThis interview provides a view of the work in progress for the Cambridge University Press edition of the Complete Works of Aphra Behn. Gillian Wright serves as a general editor (with Elaine Hobby, Claire Bowditch, and Mel Evans) as well as the volume editor for Behn’s poetry. Alan Hogarth is the Postdoctoral Research Associate working with Mel Evans on the computational stylistics and author attribution testing. The discussion focuses on the scope and principles of editing the poetry of Aphra Behn, the role of stylometry in establishing the corpus, the status of work, a few particular poems, and some surprises
Nieznajoma z North Carthage. Dwuznaczne narracje Gillian Flynn w powieści "Zaginiona dziewczyna"
No full textThis article analyzes the use of narration in Gillian Flynn's Gone Girl. The author employs the „missing white woman syndrome” and unreliable narrators to manipulate readers' perceptions and expectations.This article analyzes the use of narration in Gillian Flynn's Gone Girl. The author employs the „missing white woman syndrome” and unreliable narrators to manipulate readers' perceptions and expectations
Gillian Dooley interviews Joris Luyendijk, author of 'Fit to Print: Misrepresenting the Middle East'.
No full textInterview with Joris Luyendijk, author of 'Fit to Print: Misrepresenting the Middle East', a book about the problems of foreign journalism in the Middle East
Conjuring our beings: Stacey Gillian Abe and Immy Mali in conversational partnership
No full textThe series of Conversational Partnerships began in 2017 in African Arts vol. 50, no. 2, with a conversation between two artists: Eria Nsubuga SANE from Uganda and Sikhumbuzo Makandula from South Africa. The format of a “conversational partnership” (Rubin and Rubin 2012: 7) emphasizes the cocreation of meaning by the interviewer and interviewee as coauthors. This enables a move away from the art history format of the interviewer (usually a writer) assuming the role of the sole author and the interviewee (often an artist) having no status as an author despite the fact that her or his practice-led creation of knowledge is foundational to the content of the interview. Stacey Gillian Abe and Immy Mali participated in a joint artists' residency as part of the RAW program at Rhodes University in South Africa from November to December 2017. During this time, they engaged with each other's practice-led work, and they created this conversational partnership at a writing breakaway in the Eastern Cape
Gillian Anderson speaks out about equal pay and her book, ‘We: A Manifesto for Women Everywhere ’
No full textAn interview with Gillian Anderson and co-author Jennifer Nadel about their new book, 'We: A Manifesto for Women Everywhere.
Analiza enodejank Gillian Plowman
No full textThis diploma paper explores three dramatic texts by Gillian Plowman - Me and My Friend (1990), The Window Cleaner (2006) and The Ox and the Ass. Its main topic is the study of characters featuring in the works and their linguistic and stylistic expression as shown at the levels of register, colloquialisms and slang. In the first part, the history and basic features of the one act play are discussed. In the second part, linguistic and stylistic features of the plays are examined, paying special attention to the differences and similarities between characters and plays. The examination provides a framework for the comparison which is summarized in the concluding part of the paper. The author\u27s main concern is to establish main differences and similarities between stylistic makeup of individual plays and characters and to find out to what extent the playwright has succeeded in adapting seemingly simple plot for the more demanding audiences of the 21 century.Diplomsko delo razčlenjuje tri dramska besedila Gillian Plowman - Me and My Friend (1990), The Window Cleaner (2006) in The Ox and the Ass. Avtorica podrobno raziskuje in razčlenjuje glavne osebe in jezikovne ter slogovne značilnosti del, kot se kažejo na ravni registra ter pogovornih in sleng izrazov. Prvi del diplomskega dela obsega zgodovino enodejanke in njene bistvene značilnosti. Drugi del raziskuje jezikovne in slogovne značilnosti značajev in posameznih iger ter ugotavlja podobnosti in razlike med njimi, ki jih nato povzema v zaključnem delu. Avtorico zanima, v koliki meri je pisateljici uspelo prilagoditi navidezno preprost zaplet zahtevnejšim potrebam publike 21. stoletja
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Women Artists and the Parisian Avant-Garde: Modernism and 'feminine' art 1900-1920s
No full textThis illustrated book examines the work and artistic culture of women artists in France during the period when Picasso, Matisse and Modigliani were guiding the development of modern art. Although this period is better known for the canonical fauvist and cubist works of artists such as Matisse and Picasso, Gill Perry takes as her focus several women artists who were active on the fringes of modernist groups, and whose works were widely exhibited and reviewed in the early-20th century. Apart from the better known names of Suzanne Valadon and Marie Laurencin, these artists include Emilie Charmy, Maria Blanchard, Alice Halicka, Marevna Vorobev and Jacqueline Marval. Perry explores the critical culture through which their work was represented and patronized, and the contemporary perceptions of femininity involved. Drawing on unpublished material, including letters and diary extracts, and some works in French public and private colelctions, she argues that a lack of historical material and limited access to relevant works by these artists has encouraged some mis-representations of the many complex relationships which many women negotiated with avant-garde groups and artistic players
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