169 research outputs found
A Conversation with Clint Smith: How the Word is Passed
No full textClint Smith is a staff writer at The Atlantic. He is the author of the narrative nonfiction book, How the Word Is Passed: A Reckoning With the History of Slavery Across America, which was a #1 New York Times bestseller, and the poetry collection Counting Descent, which won the 2017 Literary Award for Best Poetry Book from the Black Caucus of the American Library Association and was a finalist for an NAACP Image Award.
Smith is a 2014 National Poetry Slam champion and has received fellowships from the Andrew W. Mellon Foundation, New America, the Emerson Collective, the Art For Justice Fund, Cave Canem, and the National Science Foundation. His essays, poems, and scholarly writing have been published in The New Yorker, The New York Times Magazine, The New Republic, Poetry Magazine, The Paris Review, the Harvard Educational Review, and elsewhere
Clint Romesha at VMI, Oct. 29, 2018.
No full textMedal of Honor recipient and author of Red Platoon, Clint Romesha speaks at the Center for Leadership and Ethics during VMI's Leadership Conference, October 29, 2018
The Digital Unconscious and Decolonizing Lacan — with Clint Burnham (Video)
No full textClint Burnham was born in Comox, British Columbia, which is on the traditional territory of the K’ómoks (Sathloot) First Nation, centred historically on kwaniwsam. He lives and teaches on the traditional ancestral territories of the Coast Salish peoples, including traditional territories of the Squamish (Sḵwx̱wú7mesh Úxwumixw), Tsleil-Waututh (səl̓ilw̓ətaʔɬ), Musqueam (xʷməθkʷəy̓əm), and Kwikwetlem (kʷikʷəƛ̓əm) Nations. Clint’s research interests include cultural studies (especially film and popular culture), contemporary poetry, and theory (especially psychoanalysis and Marxism). He is the author of book-length studies of Steve McCaffery, Fredric Jameson, and Slavoj Žižek. He is also the author of numerous books of poetry and fiction; his novel Smoke Show was published by Arsenal Pulp in 2005, his most recent book of poetry, Pound at Guantánamo, was published in 2016 by Talonbooks, and his latest fiction collection, Stories for my iPad, is under contract with Anvil. Clint has written on art in ESPACE art actuel,fillip, Flash Art, Camera Austria, The Vancouver Sun, Canadian Art, Artforum, and The Globe and Mail. He co-edited Digital Natives (Other Sights) with Lorna Brown, From Text to Txting (Indiana) with Paul Budra, and an issue of Canadian Literature on 21st century poetics with Christine Stewart; he is the author of The Only Poetry that Matters: Reading the Kootenay School of Writing (Arsenal Pulp). New and recent art writing includes a review essay on Walker Evans for Scan (U of Winnipeg), an essay on Vancouver artist Rodney Graham for the Polygon Gallery (North Vancouver), and a catalogue essay on Canadian photographer Kelly Wood. An essay on Edward Burtynsky appeared in the recent Petrocultures collection from McGill-Queen’s, an essay on the Truth and Reconciliation Commission is in the forthcoming Un-Archiving the Literary Event: CanLit Across Media volume, also from McGill-Queen’s, and an essay on Lacan and new media is in After Lacan collection from Cambridge (ed. Ankhi Mukerjee). His essay “Love and Sex in the Age of Capitalist Realism,” co-authored with Matthew Flisfeder, appeared in Cinema Journal in 2017, and “New Media as Event,” co-authored with Katarina Peović Vuković, appeared in Synthesis Philosophica, also in 2017. Prof. Burnham’s newest scholarly book, Does the Internet have an Unconscious? Slavoj Žižek and Digital Culture appeared in 2018 from Bloomsbury, which also published his Fredric Jameson andThe Wolf of Wall Street, in 2016. He has been a member of the SFU English department since 2007; before that he taught at UBC, Capilano College, and Emily Carr Institute of Art and Design. He is currently chair of the SFU English Graduate Program, and in addition to teaching the professional development courses in the coming academic year, he is also teaching, in spring 2020, a graduate seminar on truth and reconciliation, and in intersession 2020, a new introductory course on creative writing. He has supervised doctoral students writing on photography and intimacy (Alison Dean) and on sound archives (Deanna Fong), and is presently supervising dissertations on theories of search (Alois Sieben), cognitive mapping (Ed Graham – co-supervised with Prof. Lesjak), and post-humanism (Ziwei Yan). Clint is an associate member of the SFU Department of Geography and a member of SFU’s Centre for Global Political Economy, and he is a founding member of the Vancouver Lacan Salon. He co-organized the LaConference 2018, the proceedings of which, Lacan + the Environment, he is co-editing, with Prof. Kingsbury (SFU Geography) for Palgrave; this coming year he is on the organizing committee for the Canadian Association of Cultural Studies/Association Canadienne des Études Culturelles “Organized Abandonment” Conference 2020
The Digital Unconscious and Decolonizing Lacan — with Clint Burnham
No full textClint Burnham was born in Comox, British Columbia, which is on the traditional territory of the K’ómoks (Sathloot) First Nation, centred historically on kwaniwsam. He lives and teaches on the traditional ancestral territories of the Coast Salish peoples, including traditional territories of the Squamish (Sḵwx̱wú7mesh Úxwumixw), Tsleil-Waututh (səl̓ilw̓ətaʔɬ), Musqueam (xʷməθkʷəy̓əm), and Kwikwetlem (kʷikʷəƛ̓əm) Nations. Clint’s research interests include cultural studies (especially film and popular culture), contemporary poetry, and theory (especially psychoanalysis and Marxism). He is the author of book-length studies of Steve McCaffery, Fredric Jameson, and Slavoj Žižek. He is also the author of numerous books of poetry and fiction; his novel Smoke Show was published by Arsenal Pulp in 2005, his most recent book of poetry, Pound at Guantánamo, was published in 2016 by Talonbooks, and his latest fiction collection, Stories for my iPad, is under contract with Anvil. Clint has written on art in ESPACE art actuel,fillip, Flash Art, Camera Austria, The Vancouver Sun, Canadian Art, Artforum, and The Globe and Mail. He co-edited Digital Natives (Other Sights) with Lorna Brown, From Text to Txting (Indiana) with Paul Budra, and an issue of Canadian Literature on 21st century poetics with Christine Stewart; he is the author of The Only Poetry that Matters: Reading the Kootenay School of Writing (Arsenal Pulp). New and recent art writing includes a review essay on Walker Evans for Scan (U of Winnipeg), an essay on Vancouver artist Rodney Graham for the Polygon Gallery (North Vancouver), and a catalogue essay on Canadian photographer Kelly Wood. An essay on Edward Burtynsky appeared in the recent Petrocultures collection from McGill-Queen’s, an essay on the Truth and Reconciliation Commission is in the forthcoming Un-Archiving the Literary Event: CanLit Across Media volume, also from McGill-Queen’s, and an essay on Lacan and new media is in After Lacan collection from Cambridge (ed. Ankhi Mukerjee). His essay “Love and Sex in the Age of Capitalist Realism,” co-authored with Matthew Flisfeder, appeared in Cinema Journal in 2017, and “New Media as Event,” co-authored with Katarina Peović Vuković, appeared in Synthesis Philosophica, also in 2017. Prof. Burnham’s newest scholarly book, Does the Internet have an Unconscious? Slavoj Žižek and Digital Culture appeared in 2018 from Bloomsbury, which also published his Fredric Jameson andThe Wolf of Wall Street, in 2016. He has been a member of the SFU English department since 2007; before that he taught at UBC, Capilano College, and Emily Carr Institute of Art and Design. He is currently chair of the SFU English Graduate Program, and in addition to teaching the professional development courses in the coming academic year, he is also teaching, in spring 2020, a graduate seminar on truth and reconciliation, and in intersession 2020, a new introductory course on creative writing. He has supervised doctoral students writing on photography and intimacy (Alison Dean) and on sound archives (Deanna Fong), and is presently supervising dissertations on theories of search (Alois Sieben), cognitive mapping (Ed Graham – co-supervised with Prof. Lesjak), and post-humanism (Ziwei Yan). Clint is an associate member of the SFU Department of Geography and a member of SFU’s Centre for Global Political Economy, and he is a founding member of the Vancouver Lacan Salon. He co-organized the LaConference 2018, the proceedings of which, Lacan + the Environment, he is co-editing, with Prof. Kingsbury (SFU Geography) for Palgrave; this coming year he is on the organizing committee for the Canadian Association of Cultural Studies/Association Canadienne des Études Culturelles “Organized Abandonment” Conference 2020
Recirculating Nyungar-language songs to enhance social cohesion
No full textSong is of central importance in Aboriginal Australian cultures and Aboriginal communities engaging with language researchers often prioritise the documentation of songs. Even in areas where Aboriginal languages are endangered and traditional songs rarely performed, songs hold inherent potential to nourish culture, language and wellbeing. In the later stages of a study of Nyungar music from the south-west of Western Australia, the author presented a group of relevant senior Nyungar people with a fragmentary but rich collection of archival songs in the endangered Nyungar language and asked what should be done next. Summing up sentiments of the whole group, Russell Nelly said ‘Well, we got to have all of ‘em [Nyungar people] singing these songs!’ While the repatriating archival song material to Indigenous communities is a common research practice, there is little research on how to effectively use archives to encourage the performance and vitality of Indigenous song in urban/rural contexts where Indigenous language and traditional music are critically endangered.
Many of Australia’s endangered Aboriginal languages could have a better chance of surviving in song, as has been the case with languages no longer spoken but still sung in the Northern Territory. Learning, sharing and performing songs are achievable short-term goals for endangered language communities and the participatory, performative nature of music provides opportunities to enhance social cohesion and share distinct Indigenous cultural identities among Indigenous groups and with the general public. As younger Nyungar people are increasingly motivated to reclaim cultural heritage it is critical that this commence while the oldest generation of Nyungar people familiar with Nyungar language and song are still able to participate in urgent efforts to rectify the intergenerational transmission of song and language. Current research on the recirculation of Nyungar-language songs serves to highlight the proven benefits to social and personal wellbeing emanating from strong attachment to Indigenous cultural traditions. It also expands existing understandings of how song and language contribute to Indigenous wellbeing and social cohesion in a uniquely large, dispersed and urban/rural Indigenous context
How the Word is Passed [Video]
No full textClint Smith is a staff writer at The Atlantic. He is the author of the narrative nonfiction book, How the Word Is Passed: A Reckoning with the History of Slavery Across America, which was a #1 New York Times Bestseller, and the poetry collection, Counting Descent, which won the 2017 Literary Award for Best Poetry Book from the Black Caucus of the American Library Association and was a finalist for an NAACP Image Award.
Clint has received fellowships from the Andrew W. Mellon Foundation, New America, the Emerson Collective, the Art for Justice Fund, Cave Canem, and the National Science Foundation. His essays, poems, and scholarly writing have been published in The New Yorker, The New York Times Magazine, The New Republic, Poetry Magazine, The Paris Review, the Harvard Educational Review and elsewhere.
Clint is a 2014 National Poetry Slam champion and a 2017 recipient of the Jerome J. Shestack Prize from the American Poetry Review. His two TED Talks, “The Danger of Silence” and “How to Raise a Black Son in America,” collectively have been viewed more than 9 million times.
National Black History Month Keynote Address
Part of the Chautauqua Lecture Series: Wayfinding (2021-2022
Creature of culture
No full textIncludes bibliographical references (p. 43)In "The Death of the Author," structuralist thinker Roland Barthes suggested the notion of the author as a distinct identity in the creation and interpretation of a text was a thing of the past. Instead, he preferred the use of the word "scriptor" to refer to the person writing or typing a work for the first time. The ideas in the scriptor's mind would have to travel through his or her semiotic filters to make it to the paper -- those filters take the ideas and shape them -- for example, the inspiration to write about fathers and their role in a child's life would be shaped by the scriptor's experiences with his or her own father before making it to the paper. Similarly, a text's reader must take the words on the page and run them through their own semiotic filters before interpretation can begin. The focus of this thesis is my attempt to show that the mass media and the mass culture can and does shape a person's thoughts and ideas. Using several of my own works, I intend to show you the cultural context from which they emerged, and to show you that the cultural context in which I grew up was and is a crucial element, not just in those works of art, but in my entire creative process. Using seven plates, each of which shows one of my works of art, I intend to connect each work to its roots in my set of experiences with the mass culture, to show you the particular path each work took through my own semiotic filter to make it to exhibition
Christine’s and Walter’s “Eternal Now”. About Love and Transcendence in Clint Eastwood’s Changelling
No full textText is an analysis of Clint Eastwood movie Changelling (2008). The Author describes connection between characters (mother and son) as an epifanic experience. She puts the story in context of director’s output, in which the theme of love reaching transcendent dimension often occurs. Eastwood depicts ordinary experience of life in common like an Arcadian reality and he sees sacral quality in daily rituals. The Author collides religious aspects in his works with the reflection about world’s desacralization, which returns in his movies and also his openly secular worldview.Tekst stanowi analizę filmu Clinta Eastwooda Oszukana (2008), w której autorka opisuje więź bohaterów – matki i syna – w kategoriach doświadczenia epifanicznego. Opowieść umieszczona zostaje w kontekście twórczości reżysera, przez którą przewija się motyw miłości osiągającej wymiar transcendentny. Powszednie doświadczenie wspólnego życia Eastwood przedstawia na wzór rzeczywistości arkadyjskiej, w rytuałach codzienności upatrując walor sakralny. Religijny aspekt w twórczości reżysera autorka zderza z powracającą u niego refleksją na temat desakralizacji świata i otwarcie laickim światopoglądem twórcy
Christine's and Walter's "eternal now" : about love and transcendence in Clint Eastwood's "Changelling"
No full textTekst stanowi analizę filmu Clinta Eastwooda Oszukana (2008), w której autorka opisuje więź bohaterów - matki i syna - w kategoriach doświadczenia epifanicznego. Opowieść umieszczona zostaje w kontekście twórczości reżysera, przez którą przewija się motyw miłości osiągającej wymiar transcendentny. Powszednie doświadczenie wspólnego życia Eastwood przedstawia na wzór rzeczywistości arkadyjskiej, w rytuałach codzienności upatrując walor sakralny. Religijny aspekt w twórczości reżysera autorka zderza z powracającą u niego refleksją na temat desakralizacji świata i otwarcie laickim światopoglądem twórcy.Text is an analysis of Clint Eastwood movie Changelling (2008). The Author describes connection between characters (mother and son) as an epifanic experience. She puts the story in context of director's output, in which the theme of love reaching transcendent dimension often occurs. Eastwood depicts ordinary experience of life in common like an Arcadian reality and he sees sacral quality in daily rituals. The Author collides religious aspects in his works with the reflection about world's desacralization, which returns in his movies and also his openly secular worldview
Authorship and Identity in the Cinema of Clint Eastwood
No full textThis paper asserts the relevance of authorship for the study of mainstream cinema. While recent contributions have tended to focus on the agency of authors by analysing avant-garde or alternative cinema, this study argues, firstly, that attention to the cultural construction of authors is also necessary and, secondly, that it is the mainstream that offers examples of fragmented identities that are probably most in tune with contemporary culture. By looking at the work of Clint Eastwood in the last fifteen years, it concludes that the figure of the star-author encapsulates a variety of fantasies that point to current concerns about identity. Minority authors may become agents in the fight for survival against hegemony, but the films of these mainstream star-authors reflect how hegemonic culture contains identity struggles which, articulated through products like Eastwood, provide precise insight into the state of our societies.El propósito de este ensayo es afirmar la utilidad de la teoría del autor para el estudio del cine comercial de Hollywood. Publicaciones recientes han destacado la capacidad de los autores vanguardistas o independientes para crear un mensaje propio reconocible por el espectador y así proponer alternativas a la realidad. En este ensayo, sin embargo, se reclama la atención del crítico no tanto hacia esa capacidad de crear sino hacia los autores mismos como creaciones culturales, y se argumenta que las identidades que más fielmente reflejan nuestra cultura contemporánea aparecen precisamente en el cine comercial. Mediante el análisis de la filmografía de Clint Eastwood de los últimos quince años, el ensayo pretende demostrar que la figura del autor-estrella se erige sobre fantasías contradictorias en las que se vislumbra una ansiedad típicamente contemporánea acerca de la identidad personal y colectiva. Si bien es cierto que los autores minoritarios funcionan fácilmente como estandartes en la lucha contra hegemonías de todo tipo, no es menos cierto que las películas de estos autores-estrella reflejan ellas mismas los combates librados diariamente dentro de la cultura hegemónica y así se convierten en barómetros sociales
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