1,721,018 research outputs found
Introduction:Creative Manoeuvres
No full textOne of the benefits of the growth over recent decades of creativewriting as an internationally significant discipline has been to move thestudy of creative writing practice beyond subjective accounts of ‘how Iwrite’ towards broader issues of how knowledge is addressed by, orincorporated into, or embodied in art; and towards questions of how beingitself is expressed through artistic means. It also encourages considerationof how art might represent and challenge important aspects of thezeitgeist; how it might challenge or subvert the very modes ofrepresentation that it adopts; and the extent to which research and art canbe understood not merely as bedfellows, but as aspects of the same set ofexpressions. All writing tends to constitute a kind of research into its owncondition, and into the human condition, even when it specificallyeschews any explicit research agenda or purpose
The mirror manoeuvre : telling the same story twice
No full textThe emerging field of ecopsychology is marked by two theoretical concerns which can be seen as mirror images of each other. One is the concern with what humans need, psychologically, from the non-human natural world (e.g. Wolsko & Lindberg 2013). The other is what nature needs from us (e.g. Swim 2013). Ecocriticism has been exploring these questions for at least two decades, but ecocritical theory examines ways of reading texts rather than ways of writing them (Bate 2000; Buell 2001; Garrard 2012). Undertaking theoretically-informed “creative manoeuvres”, and reflecting and reporting on the results, is one way for practice-led researchers in the field of creative writing to progress the knowledge claims of our discipline. This paper describes an ecowriting practice experiment based on the premise that specific techniques of narrative fiction writing can deepen reader engagement with ecopsychology’s twin concerns, and help motivate ecological action. Exploring this premise is time-critical given the current environmental crisis (Rust & Totton 2012), and emerging evidence that contemporary modes of representing the non-human natural world fail to elicit activist responses (Crompton & Kasser 2009; Joffe 2008). In the practice experiment reported here, a unique reading experience has been constructed such that the reader encounters from two different perspectives, through two different novels, a single story of humans benefiting from non-destructive interactions with non-human nature. This paper argues that the two novels create a complex and intense relationship between reader and story which generates specific psychological effects, and ultimately demands an activist response
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
Giant Steps:Fifty poets reflect on the Apollo 11 moon landing and beyond
No full textOn 21 July, 1969, Neil Armstrong became the first human to step foot on the moon, uttering those famous words: ‘That’s one small step for man, one giant leap for mankind.’ To mark the fiftieth anniversary of the Apollo 11 moon landing, 50 poets from around the world were asked to reflect upon the achievement of Apollo 11 and our constantly evolving notions of ‘space’
Whereof one cannot speak? Reading the Tractatus
No full textThis paper discusses the concluding remarks of Wittgenstein’s Tractatus Logico-Philosophicus. It argues that those remarks specify the task for the readers of this strange text: to overcome the illusion of sense that the propositions of the book possess, and win through to a recognition that those propositions are in fact nonsensical. In order to achieve this recognition, the text demands that its readers undergo an ethical transformation. For to recognise ‘philosophical theorising’ as nonsensical is to cease approaching the world in a spirit of dissatisfaction and alienation from one’s own life with language. In this way, the text proposes that those who can ‘win out over’ its propositions, will come to ‘see the world rightly’
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
Soft Shroud:excerpts from a long poem
No full textSoft Shroud is a 32 page poem in which ‘a debtor undoes a suicide’. The poem creates a journey in which the debtor moves ‘from graveyard excavation / to floating ova’. Opening passages are located at an imaginary version of Grafton Bridge, Auckland. Soft Shroud uses this public landscape as both a scaffold and a jumping off point for somatic exploration, personal but not private or even individual. The poem begins with an excavation of covered losses, and over the whole becomes a migration in bodily time from enshrouded wound to eruptive making. Explorations move from the vacuum space of the suicide to images of volcanic lability and plenitude. Revision of the manuscript has involved cutting, extension and rearrangement, as well as the development of titles, a contents page, bridging notes and footnotes to explore the poem’s textual sources.This paper consists of sections from the beginning of the poem with accompanying notes, followed by a brief discussion of the poem’s development process.<br/
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