339 research outputs found
La niña, la hamaca y el árbol. Relato breve
No full textFil: Millan, Moira. Universidad Nacional de Luján. Departamento de Educación; Argentina.La autora es escritora y luchadora social mapuche, impulsora de las Marchas de Mujeres Originarias por el Buen Vivir y el Parlamento de Mujeres Originarias, y co-autora del film “Pupila de mujer.The author is a Mapuche writer and social activist, promoter of the Native Women's Marches for Good Living and the Native Women's Parliament, and co-author of the film “Pupila de mujer
Colour me
No full textWe are all different. But together we colour our world amazing.Using the rainbow as a metaphor for our diversity and uniqueness, Indigenous author Ezekiel Kwaymullina joins forces with award-winning illustrator Moira Court in this gorgeous new picture book. Luminous screen prints and evocative prose celebrate every individual colour as well as the power of their combinatio
What’s in a Name? Reading the Character of Mary/Moira in Jane Urquhart’s Away
No full textThis article analyses the various connotations of the name of the protagonist in Jane Urquhart’s Irish-Canadian novel Away, first published in 1993. The heroine Mary changes her name to Moira at the start of the book, which leads the reader to ponder on the significance of these names. By exploring the classical, topographical, naval, linguistic and religious undertones of Mary/Moira, this study seeks to demonstrate how the Canadian author conveys notions of postcolonialism throughout her novel with the choice of a character’s name
Living with George Eliot
No full textGeorge Eliot’s fictional experiments were designed to provoke the reader to reflect on the ways in which political institutions and social and sexual mores help to determine the shape of human life. Yet Rebecca Mead’s popular recent reading of Eliot’s masterpiece, Middlemarch, barely mentions social and political institutions and their differential effects on the capacities of individuals to realise their ambitions.
Has Mead fallen prey to the egoism that Middlemarch so forensically—and compassionately—lays bare, asks Moira Gatens in the Australian Review of Public Affairs.
Title: The Road to Middlemarch: My Life with George Eliot
Publisher: The Text Publishing Company
Date Published: 2014
Author: Rebecca Mead
Image: book cove
La Nouvelle-Orléans, miroir des angoisses de l’Amérique ?The Not Yet, roman dystopique de Moira Crone
No full textPrenant comme point d’appui l’étude de la théâtralité en Louisiane menée par Cécilia Camoin, nous nous attacherons dans cet article à examiner la façon dont l’espace louisianais fait « signe » dans le roman post-apocalyptique de Moira Crone, The Not Yet, paru en 2012. Espace liminal par excellence, la Nouvelle-Orléans participe d’une dialectique de l’inclusion et de l’exclusion qui interroge les frontières entre la vie et la mort tout en faisant la part belle aux phénomènes d’hybridation et aux pratiques carnavalesques. La représentation théâtrale du « Sim Verite » fonctionne comme point culminant du récit et expression hyperbolique d’un monde qui se plaît à rejouer à l’envi son angoisse face à la mort afin de mieux la déjouer. Crone fait ainsi de la Nouvelle-Orléans le centre névralgique d’un espace louisianais qui se constitue dans un rapport trouble d’ipséité et d’altérité vis-à-vis du reste du pays.Taking as a point of departure Cécilia Camoin’s study of theatricality in Louisiana, this article sets out to examine the ways in which space “signifies” in Moira Crone’s post-apocalyptic novel The Not Yet, published in 2012. New Orleans stands out as a liminal space par excellence, fostering as it does a dialectics of inclusion and exclusion that interrogates the frontiers between life and death while foregrounding processes of hybridization and carnivalization. The climactic performance of the “Sim Verite” appears as the hyperbolic expression of a world that delights in reenacting its deepest anxieties over and over again in order to cheat death itself. Through this representation of New Orleans, Crone eventually articulates the tension between the same and the other that informs Louisiana’s ambivalent position towards the rest of the United States
Autoconstrução narrativa em E se eu fosse pura (2018), de Amara Moira
No full textEm E se eu fosse pura (2018), a escritora brasileira contemporânea Amara Moira articula uma série de narrativas autodiegéticas acerca de suas vivências como travesti e como profissional do sexo. Ao mesmo tempo que lança um olhar retrospectivo para si, a autora também denuncia as violências múltiplas e a exclusão social a que muitas sujeitas que exercem a prostituição estão vulneráveis. Ciente da marginalização que atravessa os imaginários sobre as identidades trans e sobre a prostituição, Moira os retoma, subverte e reconstrói, entrelaçando-os com um novo espaço simbólico: o ofício da escrita. Tendo como objetivo caracterizar sua obra como uma possibilidade autoficcional, um espaço potencial de criação de subjetividades e um instrumento de reivindicação política, a presente dissertação parte de discussões sobre identidade e contemporaneidade (HALL, 2011; BAUMAN, 2001; SIBILIA, 2008) e de debates acerca da escrita autoficcional (LEJEUNE, 2014; ARFUCH, 2010; FAEDRICH, 2014, 2015). Finalmente, a análise das narrativas destaca as seguintes particularidades da obra de Moira: o caráter estético híbrido, os processos de adaptação entre as duas edições (2016 e 2018) e os deslocamentos entre a voz individual e as vozes coletivas.On E se eu fosse pura (2018), Brazilian contemporary writer Amara Moira develops a series of autodiegetic narratives about her life experiences as both a travesti and a sex worker. As she delves into and reflects about her own self, the author also denounces the violence and the social exclusion to which many of the individuals that partake in the business of prostitution are vulnerable to. Aware of the marginalization that comes along with the prototypical images associated to both the identity of trans people and prostitution, Moira rethinks, subverts and reconstructs them, adding a new symbolic horizon, the writing craft, to an otherwise formulaic structure. In order to characterize Moiras memoir as an autofiction, a literary space open to the creation of subjectivities and a social instrument for political vindication, this thesis takes into account discussions on the topics of identity and contemporaneity (HALL, 2011; BAUMAN, 2001; SIBILIA, 2008) as well as on autofictional writing (LEJEUNE, 2014; ARFUCH, 2010; FAEDRICH, 2014, 2015). Ultimately, the analysis of these narratives points up the following particularities of Moiras work: its hybrid aesthetic; the adaption process as it relates to its both editions (2016 and 2018); and her individual voice and how it is prone to collectivity
What Gets Into Us: Stories
No full textIn What Gets Into Us, the new collection of short stories by Moira Crone, a curious child discovers that some believe the gods who made this world didn\u27t make it right, and they are terribly sorry about it. A nine-year-old girl is the only one who realizes that her mother\u27s mental illness has put the family\u27s survival at stake. A shy African American woman confronts evil directly in a terrifying act of love. A teenage orphan replaces a wayward son in a privileged but unhappy family. A young carpenter decides that if his baby is going to be born right, he will have to commit a crime and build the world anew. Fayton, North Carolina, is a rural town in which everyone knows everyone else\u27s business. Crone explores this fictional landscape and its inhabitants from many angles. The stories follow the lives of men and women who grew up together in Fayton. Full of memorable characters from several generations, this story cycle evolves into a chronicle of a region and its characters. Through it, Crone meditates on the mix of history and spirit that shapes souls and creates community. From the perspectives of its various protagonists-white and black, male and female, young and old-we watch as Fayton comes to deal with the charged issues of race, feminism, southern traditions, and the unforeseen changes wrought by economics and technology. What Gets Into Us is a powerful story cycle that resonates as deeply as a classic novel. Moira Crone is the author of the novel Period of Confinement and two collections of short stories. Four of her stories have appeared in New Stories from the South: The Year\u27s Best. This collection includes her novella, The Ice Garden, which won the 2004 William Faulkner/Wisdom Prize.https://repository.lsu.edu/facultybooks/1571/thumbnail.jp
40th Anniversary Celebration - 05
No full textNewspaper Article - 'Getting Acquainted' Story by Moira Coulter. About the Chatsworth Country Club's 40th anniversary celebration, Vermilion, AB (3 pages
Regulating Surveillance: Suggestions for a Possible Way Forward
No full textThe need for privacy protection against surveillance has assumed new significance due
to the onslaught of technological developments that increasingly undermine the capacity
of individuals to maintain anonymity in relation to public activities and their physical
movements across public places. Modern surveillance practices arguably require a
rethinking of some of the tests and assumptions that underlie existing privacy laws,
including tests based on “reasonable expectations of privacy”, distinctions between content
and between transactional data and content. They also call for active consideration of
the full range of regulatory tools available and ways in which those tools can be adapted
to reduce their existing limitations. This paper draws on a range of privacy resources,
and on regulatory theory more generally, to suggest possible ways forward
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