286 research outputs found
Evening Devotional
No full textThis poem appears in the music score 'Winnowing Light: for Clarinet and Marimba' published by the Australian Music Centre. The music follows Kate's poem, in dialogue with symbolism surrounding swifts and their evening flights above the clouds. Author Helen Macdonald refers to what are known as 'vesper flights,' and Kate Fagan has woven this idea into her poem with references to the Magnificat, from Evensong or evening prayers
Muddy poetics: First World War poems by Helen Saunders and Mary Borden
No full textIn its appearances in English literary history, mud is associated with dirt and disgustingness, but also with vitality, insurgence and creativity. Mud in First World War poetry, however, has been most often read as figuring ontological and epistemological crisis: the taboo and the abject. Two poems about mud written by women during the First World War permit a different interpretation. In Helen Saunders's 'A Vision of Mud' (1915) and Mary Borden's 'The Song of the Mud' (1917), mud is as fascinating as it is repellent. Blurring the boundaries between combatant and non-combatant, it serves as the inspiration for and the stuff of female creativity. It also reveals the possibilities of a critical thinking with muddiness which productively resists reductive dichotomies
This little art /
No full text"An essay with the reach and momentum of a novel, Kate Briggs's This Little Art is a genre-bending song for the practice of literary translation, offering fresh, fierce and timely thinking on reading, writing and living with the works of others. Taking her own experience of translating Roland Barthes's lecture notes as a starting point, the author threads various stories together to give us this portrait of translation as a compelling, complex and intensely relational activity. She recounts the story of Helen Lowe-Porter's translations of Thomas Mann, and their posthumous vilification. She writes about the loving relationship between André Gide and his translator Dorothy Bussy. She recalls how Robinson Crusoe laboriously made a table, for him for the first time, on an undeserted island. With This Little Art, a beautifully layered account of a subjective translating experience, Kate Briggs emerges as a truly remarkable writer: distinctive, wise, frank, funny and utterly original."--Back cover.Part-essay and part-memoir, 'This Little Art' is a manifesto for the practice of literary translation.Includes bibliographical references.Dragonese -- Don't do translations! -- Would-be writer -- And still no rain/Roland Barthes rhymes with -- Amateur translator -- Maker of wholes (let's say of a table) -- Who refuses to let go of her translations until she feels she has written the books herself (or, translation and the principle of tact.)."An essay with the reach and momentum of a novel, Kate Briggs's This Little Art is a genre-bending song for the practice of literary translation, offering fresh, fierce and timely thinking on reading, writing and living with the works of others. Taking her own experience of translating Roland Barthes's lecture notes as a starting point, the author threads various stories together to give us this portrait of translation as a compelling, complex and intensely relational activity. She recounts the story of Helen Lowe-Porter's translations of Thomas Mann, and their posthumous vilification. She writes about the loving relationship between André Gide and his translator Dorothy Bussy. She recalls how Robinson Crusoe laboriously made a table, for him for the first time, on an undeserted island. With This Little Art, a beautifully layered account of a subjective translating experience, Kate Briggs emerges as a truly remarkable writer: distinctive, wise, frank, funny and utterly original."--Back cover.Part-essay and part-memoir, 'This Little Art' is a manifesto for the practice of literary translation
Harmonizing Global Care Policy? Care and the Commission on the Status of Women
No full textIn March 2009 Member States of the United Nations met in New York at the Commission on the Status of Women (CSW) to discuss, among other things, the priority theme of “The equal sharing of responsibilities between women and men, including care-giving in the context of HIV/AIDS”. This meeting provided an unprecedented opportunity to focus the international community’s attention on care issues and to generate Agreed Conclusions that would lay out a roadmap for care policy, potentially influencing national legislation, policies adopted by UN entities and future international agreements. Using interviews with participants and an overview of official documentation, this paper seeks to summarize the achievements of the 2009 CSW, and to suggest where policy conversations about care might usefully focus next.
More specifically, the paper aims to contribute to three key objectives: (i) identify the narrative(s) of how the policy frame of equal sharing of responsibilities, including care-giving in the context of HIV/AIDS, came into being; (ii) identify the policy alliances generated through that frame; and (iii) identify the key achievements forged at the 53rd session, while examining what the Agreed Conclusions might make possible to say and do around care issues in the future. In this way it aims to provide a supportive and critical examination of the emerging global policy agenda on care issues as crystallized in the meetings around the 2009 CSW.
With regard to the achievements, the paper argues that the frame of care, linked as it was to the equal sharing of responsibility between men and women, proved an exceptionally expansive one. It successfully united a wide range of actors, including conservative faith-based actors who had mobilized against other gender equality initiatives in the past. This expansive frame facilitated three key advances in care policy at the 53rd session: (i) consensus among Member States and other actors on the significance of care across the UN system, especially in relation to HIV; (ii) consensus on a strong state responsibility; and (iii) consensus on the centrality of care-givers’ participation in debates over policy. These advances may prove significant in increasing attention to care within the United Nations, defending care services from state cutbacks in a recession, and helping civil society actors mobilize around care, especially as related to HIV. In addition, the agreements made at the 2009 CSW may represent the emergence of a new consensus around the importance of economic justice issues in gender equality venues, given the foregrounding of state services and the challenge to free-market models of growth witnessed there.
In an attempt to consider where care conversations might usefully focus next, the paper closes with a discussion of two issues that received less attention at the 2009 CSW: disability and diversity of family formation. These two issues are highly relevant to care debates, at the UN level and elsewhere, and can help move global policy forward in fruitful directions. That said, policy conversations will need to be reframed to take them into account. This task will in some ways challenge the consensus on care forged at the 2009 CSW. For example, the progress made in carrying forward the global gender equality project via a unifying focus on care is in part based on a consensus about care-givers as the central actors, a position challenged by disability activism and scholarship. Likewise, the agreements forged at the 2009 CSW in many ways entrenched the notion that privatized nuclear family units were a universally desirable model for care provision, a notion challenged by a range of actors who recognize the role of extended family members in care, and/or who want to secure more support for the diverse forms through which care is provided. A reframing of care debates will be necessary if new alliances with such actors are to be forged and strengthened. While the paper seeks to explicate the immense value of the Agreed Conclusions forged at the 2009 CSW for future efforts to secure care services, it also aims to explore the limitations of those agreements and highlight the importance of continuing the conversation on care to grapple with current exclusions
Reading acts of narrative appropriation: four instances of fraudulent memoir
No full textPhDThis thesis examines acts of narrative appropriation, the telling of purportedly‘authentic’ life stories by those for whom the stories are not theirs to tell. This
misuse or subversion of genre - the discipline of historical writing and the category
of autobiography - becomes a means for cultural, social and political dissimulation,
and the analysis focuses both on the act: the event, trespass, or ‘theft’ of another’s
life story, and on the cultural meaning that this event reveals. These narrative acts
are approached theoretically through discussions of what it means to be an author, a
reader, and through the consideration of literary and social genre, category and form.
In exploring identities at particular risk of appropriation, this thesis shows how
fraudulent appropriated narratives affect our reading of the world, and in turn
influence our perception of already marginalized social groups. My primary
examples include prostitution ‘narratives’, Native North American ‘memoir,’ and
fraudulent Holocaust survivor ‘testimony,’ with each text providing decoded
evidence of ‘genre-bending’ exhibiting a social and political intent. These works
seek to be read as authentic personal narratives, as autobiography, and that is how
they have been presented to the reader. However, they are imposters – fictional tales
desiring the elevated status of historical authenticity and willing to bend the rules
and contracts of genre to achieve their end. Here the appearance of authenticity is
achieved through the use of cultural and social ‘myth,’ or perceptions of cultural
identity, and as such its fraudulent construction is first and foremost a social act,
with a social and economic motivation. As this thesis concludes, these texts are
most successful when their own political and social ideologies echo and confirm that
of the readership; when their subjects, the fraudulent ‘I’ at the center of the text is
also a performative elaboration of cultural belief
The Cripple of Inishmaan Production Photo
No full textProvidence College Department of Theatre, Dance & Film Angell Blackfriars Theatre
The Cripple of Inishmaan by Martin McDonagh Oct. 28-30 & Nov. 4-6, 2011 Directed by Mary G. Farrell Scenic Design: Kathryn Kawecki Lighting Design: Tim Cryan Costume Design: Deborah Newhall Sound Design: Paul Perry Dialect Coach: Sheila Hogg
Cast: KATE - Danielle Demisay; EILEEN - Erin Fusco; JOHNNYPATEENMIKE - Ted Boyce-Smith; BILLY - Kevin Mark Lynch; BARTLEY - Patrick Mark Saunders; HELEN - Marisa Urgo; BABBYBOBBY - Daniel Caplin; DOCTOR MCSHARRY - Ryan Fink; MAMMY - Grace Curley
Photography by Gabrielle Markshttps://digitalcommons.providence.edu/cripple_photos/1000/thumbnail.jp
The Cripple of Inishmaan Playbill
No full textProvidence College Department of Theatre, Dance & Film
Angell Blackfriars Theatre
The Cripple of Inishmaan by Martin McDonagh
Oct. 28-30 & Nov. 4-6, 2011
Directed by Mary G. Farrell
Scenic Design: Kathryn Kawecki
Lighting Design: Tim Cryan
Costume Design: Deborah Newhall
Sound Design: Paul Perry
Dialect Coach: Sheila Hogg
Cast: KATE - Danielle Demisay; EILEEN - Erin Fusco; JOHNNYPATEENMIKE - Ted Boyce-Smith; BILLY - Kevin Mark Lynch; BARTLEY - Patrick Mark Saunders; HELEN - Marisa Urgo; BABBYBOBBY - Daniel Caplin; DOCTOR MCSHARRY - Ryan Fink; MAMMY - Grace Curleyhttps://digitalcommons.providence.edu/cripple_pubs/1001/thumbnail.jp
National dress and the problem of authenticity in <i>Ulysses</i>
No full textThis article considers James Joyce’s representation of Irish dress, arguing that his ambivalent treatment of it accurately reflects his fractious relationship with the Irish Revival movement. The article begins with a discussion of the metaphor of performance and relates this to issues around “authenticity”. From here, it discusses Douglas Hyde’s thoughts on dress, as presented in “The Necessity for de-Anglicising Ireland”, contextualising these within a brief history of nineteenth and early-twentieth-century Irish dress history, and recognising the important work of women in this. Assessing Joyce’s depictions of Irish dress, especially in “Scylla and Charybdis”, “Cyclops” and “Circe”, this article argues that Joyce sees Irish dress as a contingent and fragile cultural performance
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