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DIVA Versionmaster Thesis Makz Bjuggfält 20170703
! Beyond Morality Alternative Gay Narratives in Mark Ravenhill’s Shopping and Fucking and Dennis Cooper’s The Sluts Makz Bjuggfält Field of study: Literature Level: Master Credits: 45 Thesis Defence: June, 2017 Supervisor: Björn Sundberg Department of Literature Master’s Thesis in Literature Because – look – this bit. It doesn’t end like this. He’s always got something. He gets me in the room, blindfolds me. But he doesn’t fuck me. Well not him, not his dick. It’s the knife. He fucks me – yeah – but with a knife. So… – Shopping and Fucking, 1996 When I shoot dope, I don’t think if I do too much I’m going to overdose. I do as much as I feel like it to get as high as I can. When I let some fucking asshole have me for money, I don’t tell him what he can’t do, I just go with whatever he wants, because it’s bullshit otherwise. I got married because I wanted to be with Elaine, and she wanted that, and I went for it. If you’re still into that weird shit, that’s the way it is. If I’m going to let you have sex with me, then you have sex with me the way you want. if I don’t wake up the next morning, that’s the way it is. – The Sluts, 2004 Because it flickers disturbing light onto the darkest nights of human souls, illuminating the visceral cravings and obsessions that erupt when the psychosexual desire police goes on break, this fiction has been deemed at various moment, the most controversial of any being written today. -
Who Is It For? Personal Writing and Antagonistic Readers
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 Who Is It For? Personal Writing and Antagonistic Readers Dana Glaser The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2594 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] WHO IS IT FOR? PERSONAL WRITING AND ANTAGONISTIC READERS by DANA GLASER A master’s thesis submitted to the Graduate Faculty in Women’s and Gender Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2018 © 2018 DANA GLASER All Rights Reserved ii Who Is It For? Personal Writing and Antagonistic Readers by Dana Glaser This manuscript has been read and accepted for the Graduate Faculty in Women’s and Gender Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Nancy K. Miller Thesis Advisor Date Dana-ain Davis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Who is it for? Personal Writing and Antagonistic Readers by Dana Glaser Advisor: Nancy K. Miller Feminist accounts of how “the personal” is used in feminist critical nonfiction have theorized that the effect of the personal is to connect the writer with readers who share a sense of her investment in the subject matter. -
Curriculum Vitae
Curriculum Vitae Travis Jeppesen (2013) Biography Travis Jeppesen was born in Fort Lauderdale, Florida (USA) in 1979. He is the author of the critically acclaimed novel Victims, which was selected by Dennis Cooper to debut his Little House on the Bowery series for Akashic Books in 2003; a Russian translation of the novel was published in 2005 by Eksmo. Jeppesen’s second novel, Wolf at the Door (Twisted Spoon Press), was completed during a residency at the Slovenian Writers’ Association in Ljubljana, and appeared in 2007. In 2006, BLATT Books published a collection of poetry, Poems I Wrote While Watching TV; a second collection, Dicklung & Others, appeared in November 2009. 2008 saw the release of Disorientations: Art on the Margins of the “Contemporary,” a book collecting Jeppesen’s writings on Central and Eastern European art, and the launch of disorientations.com, a “one- man art magazine.” The book was named “Nonfiction Book of the Year” by 3amMagazine.com. His play, Daddy, premiered in June 2009 in Berlin at the HAU Theater, under the direction of Ron Athey. His writings on art and literature have appeared in the Review of Contemporary Fiction, Art in America, Artforum, Bookforum, Flash Art, New York Press, Whitehot Magazine of Contemporary Art, Dazed & Confused, Zoo Magazine, and The Stranger, among other publications. Between 2002 and 2006, Jeppesen lived in Prague, where he co-edited the Prague Pill (2002-2003), the Prague Literary Review (2005), and BLATT (2006-2007) with Joshua Cohen. He is a member of the Czech Journalists’ Syndicate. With Mario Dzurila, he co-directed the literary press BLATT Books. -
Nelson Great-To-Watch NHR-6E.Pdf
••• MAGGIE NELSON AMERICAN SOCIETY is SATURATED with violence--and not just theviolence horrif ically displayed in early December 2012 at the Sandy Hook Elementary School, where a former student returned to shoot 20 children and 6 adults before he trained his rifle on himself In 2011, the homicide rate in the United States was more than four times greater than Germany's and more than eight times Japan's. But violence hereis not just a social fact-it's also a cultural phenomenon, as poet, critic, and essayist Maggie Nelson understands. Anyone who watches television and YouTube, or spends hours playing video games, will recognize its pervasive ness. But Nelson finds violence in a place we might never think to look-in the high arts, especially the cutting-edge tradition known as the avant-garde. Past defenders of the artistic avant-garde celebrated the possibilities opened up by "aesthetic shock," the experience produced by radical disorientation. But -they have tended to soft-pedal its complicity with sadism and terror. At times, Nelson herself seems to be thrilled by the avant-garde's liberating openness, but she tries to nudge artists and art lovers toward what one reviewer, writing in the New York Time�, calls a "post-avant-garde aesthetics." Such an aesthetics--a new :frameworkfor the arts-might, as Nelson claims, "deliver us to a more sensitive, perceptive, insightful, enlivened, collaborative and just way of inhabiting the earth." Nelson's shift from art to "inhabiting the earth" might seem to give too much importance to what goes on in galleries, museums, and film festivals. -
Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption. -
Real Worlds: Brassaï Arbus Goldin
Real Worlds RealWorlds_Guts_Final.indd 1 11/21/17 1:05 PM Real Worlds: Brassaï Arbus Goldin Hilton Als Maggie Nelson A.L. Steiner IN CONVERSATION WITH Lanka Tattersall The Museum of Contemporary Art, Los Angeles RealWorlds_Guts_Final.indd 2-3 11/21/17 1:05 PM CONTENTS 6 Director’s Foreword and Acknowledgments PHILIPPE VERGNE 8 Preface LANKA TATTERSALL LANKA TATTERSALL IN CONVERSATION WITH 13 Hilton Als ON Brassaï 29 Maggie Nelson ON Arbus 45 A.L. Steiner ON Goldin 60 Contributors RealWorlds_Guts_Final.indd 4-5 11/21/17 1:05 PM DIRECTOR’S FOREWORD AND Pelosi, Esquire, Matthew Marks Gallery, and Fraenkel Gallery. ACKNOWLEDGEMENTS Above all, our heartfelt thanks goes to the estates of Diane Arbus and Brassaï, artist Nan Goldin, and the contributors to this publication: Hilton Als, Maggie Nelson, and A.L. Steiner. Real Worlds: Brassaï, Arbus, Goldin brings together the works Arbus, Brassaï, and Goldin continue to inspire scholars, artists, of three of the twentieth century’s most influential photogra- and viewers alike. Their manifold contributions to the art of the phers of modern life. Drawn primarily from The Museum of last century have fundamentally expanded the definitions of doc- Contemporary Art, Los Angeles’s extraordinary photography umentary photography, while offering simultaneously elegant, collection, the exhibition provides a remarkable opportunity to brutal, and tender depictions of their “Real Worlds,” worlds explore the work of Brassaï (1899–1984), Diane Arbus (1923– that our brilliant contributors—Als, Nelson, and Steiner—have 1971), and Nan Goldin (1953–). generously and keenly explored within this publication. I am This exhibition would not have been possible without the deeply grateful to each for lending their critical voice and vision acquisition, in 1995, of an astounding collection of over two to this project. -
Hester, Diarmuid.Pdf
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Passionate Destruction, Passionate Creation: Art and Anarchy in the Work of Dennis Cooper Diarmuid Hester PhD in English University of Sussex June 2015 I hereby declare that this thesis has not been and will not be submitted in whole or in part to another University for the award of any other degree. Signature UNIVERSITY OF SUSSEX DIARMUID EOIN HESTER PHD IN MODERN AND CONTEMPORARY LITERATURE CULTURE AND THOUGHT PASSIONATE DESTRUCTION, PASSIONATE CREATION: ART AND ANARCHY IN THE WORK OF DENNIS COOPER SUMMARY The subject of this thesis is the life and work of the American writer Dennis Cooper. It is the first book-length appraisal of his career, which regards his poetry, prose, and innovative employment of new media from the perspective of his avowed anarchism. Situating his work within the context of American and French literary history and traditions of anarchist thought, I identify and pursue a dialectic that recurs in his work between, on the one hand, a commitment to subjective experience and individuality and, on the other, a desire for community and communion with others. -
Nero Free Magazine [email protected]
FRANCESCO ARENA ADAM AVIKAINEN BETTINA BUCK TOBIAS COLLIER RÄ DI MARTINO GRAHAM HUDSON URSULA MAYER ROBERT ORCHARDSON ANTONIO ROVALDI MARINELLA SENATORE GUIDO VAN DER WERVE NICO VASCELLARI ZIMMERFREI 21 May - 18 September 2007 “9 or 10 works I used to like, in no order” MONITOR Stefan Brüggemann I Sean Dack I Simon Dyb- video&contemporary art broe Møller I Jacob Dyrenforth I Nicola Pecoraro Falke Pisano I Frédéric Post I Jeremy Shaw I Izet Viale delle Mura Aurelie 19 00165 Rome Sheshivari I Alexandre Singh I Meredyth Sparks. Tel/Fax (+0039) 06 39378024 curated by Luca Lo Pinto [email protected] GALLERIA LORCAN O’NEILL ROMA PIETRO RUFFO SIX NATIONS 24 MAY - SEPTEMBER 2007 MANFREDI BENINATI DON BROWN FRANCESCO CLEMENTE MARTIN CREED TRACEY EMIN ANSELM KIEFER RICHARD LONG LUIGI ONTANI MAX RENKEL KIKI SMITH SAM TAYLOR-WOOD JEFF WALL RACHEL WHITEREAD MATVEY LEVENSTEIN 2 OCTOBER - NOVEMBER 2007 1E Via Orti D’Alibert Rome 00165 - +39 06 6889-2980 - [email protected] - www.lorcanoneill.com SPECIAL ISSUE Nero Free Magazine [email protected] Editor-in-Chief: Giuseppe Mohrhoff This is a special english issue of NERO, for the first Editors: Francesco de Figueiredo ([email protected]) time distributed internationally. This issue has been Luca Lo Pinto ([email protected]) Valerio Mannucci ([email protected]) conceived as a ‘best of’ the top rated stories narrated Lorenzo Micheli Gigotti ([email protected]) by NERO up to now. Collaborators: Gianni Avella, Emiliano Barbieri, Carola Bonfili, Dr. Pira, Rudi Borsella, Francesco Farabegoli, Roberta 02 IO CHE INTERVISTO JONATHAN MONK... Ferlicca, Ilaria Gianni, Antonio Pezzuto, Andrea Proia, Giordano Simoncini, Francesco Tatò, Francesco Ventrella. -
Off Scene.Pdf
Off Scene published on the occasion of the exhibiton Aliza Shvarts: Off Scene May 11—June 30, 2018 Curated by Sarah Fritchey Artspace New Haven, CT some objects exist as complicated layers of wet sediment and bone, ossified indexes of past event punctuated by a palpable sense of things still happening 01 INTRODUCTION BY SARAH FRITCHEY 03 ALIZA SHVARTS: MATERIAL FICTIONS BY ANGELIQUE SZYMANEK 09 BANNER (YALE DAILY NEWS) 11 ON SABOTAGE 13 CITE / SITE 23 NONCONSENSUAL COLLABORATIONS, 2012-PRESENT NOTES ON A SHARED CONDITION 35 SIBBOLETH 41 POSTERS 43 HOW DOES IT FEEL TO BE A FICTION? NEW YORK VIRUS 47 HOW DOES IT FEEL TO BE A FICTION? BOGOTÁ VIRUS 50 HOW DOES IT FEEL TO BE A FICTION? NEW HAVEN VIRUS 51 ACKNOWLEDGEMENTS INTRODUCTION BY SARAH FRITCHEY I checked into a hotel room to write this intro- further feedback. Shvarts’ ordeal became a duction. It’s the first time I’ve been alone over- topic of public debate, and in a follow up ar- night in years, and it feels like anything might ticle, a Yale spokesperson described her work be possible. One man in an elevator called as a “creative fiction.” As her story circulated me sweetheart; another admired my ability nationally and internationally over the inter- to swipe my key card and hit button six be- net, it received hundreds of reader comments. fore missing my floor, he was on twenty-two. This is where the exhibition Aliza Shvarts: Off A young woman held a door for me and I Scene begins, with the question of who has thanked her. -
Repetition and Textuality in Post-Conceptual Poetics
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2017 Between the Cloud and the Page: Repetition and Textuality in Post-Conceptual Poetics Michael Kirby The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2051 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] BETWEEN THE CLOUD AND THE PAGE: REPETITION AND TEXTUALITY IN POST- CONCEPUTUAL POETICS by MICHAEL KIRBY A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of requirements for the degree of Master of Arts, The City University of New York 2017 ii © 2017 MICHAEL KIRBY All Rights Reserved iii Between the Cloud and the Page: Repetition and Textuality in Post-conceptual Poetics by Michael Kirby This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts ____________________ ________________________________________________ Date Matthew K. Gold Thesis Advisor ____________________ ________________________________________________ Date Elizabeth Macaualy-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Between the Cloud and the Page: Repetition and Textuality in Post-conceptual Poetics by Michael Kirby Advisor: Matthew K. Gold These three chapters take as their focus the emergent movement of post-conceptual poetry. The first chapter, “What is Post-conceptual Poetry?,” attempts to delineate the varying definitions of post-conceptualism offered by four critics (Felix Bernstein, Diana Hamilton, Vanessa Place, and Robert Fitterman). -
Dysfunctional Language and Dennis Cooper's Satire University
“But weren’t words too complex to manipulate properly?” – Dysfunctional Language and Dennis Cooper’s Satire University of Tampere English Department Pro Gradu Thesis Spring 2006 Tommi Kakko Tampereen yliopisto Kieli- ja käännöstieteiden laitos Englantilainen filologia Tommi Kakko: “But weren't words too complex to manipulate properly?” – Dysfunctional Language and Dennis Cooper's Satire Pro Gradu-tutkielma, 101 sivua + lähdeluettelo Kevät 2006 Pro Gradu-tutkielmani käsittelee Dennis Cooperin satiiria teoksissa Frisk (1991) ja Guide (1997). Cooperin satiirin kohteena ovat poststrukturalistisen kirjallisuuskritiikin vaikeaselkoinen retoriikka ja sen usein radikaalit näkemykset kirjallisuuden funktiosta. Pyrin kuvailemaan poststrukturalistista kirjallisuuskritiikkiä Cooperin satiirin objektina ja vertaamaan hänen näkemystään sekä filosofisiin argumentteihin että aikaisempiin vastaavanlaisiin satiireihin. Olen tästä syystä jakanut esseen kahteen osaan. Ensimmäisessä osassa kuvailen poststrukturalistista teoriaa poleemisesta näkökulmasta ja vertaan Cooperin satiiria poststrukturalismia vastaan suunnatun poleemisen kritiikin antamaan kuvaan. Jälkimmäisessä osassa vertaan Cooperin proosaa aikaisempiin metafysiikan satiireihin Thomas De Quinceyn, Fitz Hugh Ludlown, William S. Burroughsin, Aldous Huxleyn ja Hunter S. Thompsonin teksteissä. Näiden tekstien valossa kuva poststrukturalismista Cooperin satiirin objektina muistuttaa teoriaa metafysiikasta, jonka terminologia on johdettu varhaisesta semiotiikasta. Tämä kuva vastaa tunnetuimman kritiikin -
Embracing Maternal Eroticism: Queer Experiences of Pleasure in Maggie Nelson’S the Argonauts
Feminist Encounters: A Journal of Critical Studies in Culture and Politics, 3(1-2), 08 ISSN: 2542-4920 Embracing Maternal Eroticism: Queer Experiences of Pleasure in Maggie Nelson’s The Argonauts Mollie Ann Kervick 1* Published: September 10, 2019 ABSTRACT In this essay I approach The Argonauts (2015), specifically Nelson’s attention to maternal desire and eroticism through the lens of motherhood studies and matricentric feminism. I argue that The Argonauts provides a compelling contribution to a fairly new, but increasingly pertinent, discourse of empowered mothering. Nelson’s accounts of the erotic experience of mothering, coupled with details of her sexual experiences within and outside of her relationship with her partner, Harry, address what has heretofore been a deep- seated contradiction between the maternal body and sexual and erotic pleasure and desire. Nelson makes space for the consideration of motherhood and the erotic not as antithetical, but deeply entwined realms of experience. By drawing on Audre Lorde’s meditations on the erotic, as well as scholarship on maternal eroticism, I contend that The Argonauts exposes aspects of feminine and maternal experiences that transgress a patriarchal institution of motherhood which ultimately seeks to contain these experiences within the private sphere of the family. Keywords: motherhood, neoliberalism, academic feminisms, mothering, eroticism INTRODUCTION In her genre-defying poetic/critical memoir The Argonauts (2015), Maggie Nelson explores the interstices of sex, mothering, and language in the age of North American neoliberalism. Nelson reflects on her experiences of family- making with her partner, artist Harry Dodge, through her journey of conceiving and giving birth to her son Iggy while learning to care for her stepson at the same time.