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Digital Feminism in the Arab Gulf
MIT Center for Intnl Studies | Starr Forum: Digital Feminism in the Arab Gulf MICHELLE I'm Michelle English, and on behalf of the MIT Center for International Studies, welcome you to ENGLISH: today's Starr Forum. Before we get started, I'd like to mention that this is our last planned event for the fall. However, we do have many, many events planned for the spring. So if you haven't already, please take time to sign up to get our event notices. Today's talk on digital feminism in the Arab Gulf states is co-sponsored by the MIT Women's and Gender Studies program, the MIT History department, and the MIT Press bookstore. In typical fashion, our talk will conclude with Q&A with the audience. And for those asking questions, please line up behind the microphones. We ask that you to be considerate of time and others who want to ask questions. And please also identify yourself and your affiliation before asking your question. Our featured speaker is Mona Eltahawy, an award winning columnist and international public speaker on Arab and Muslim issues and global feminism. She is based in Cairo and New York City. Her commentaries have appeared in multiple publications and she is a regular guest analyst on television and radio shows. During the Egypt Revolution in 2011, she appeared on most major media outlets, leading the feminist website Jezebel to describe her as the woman explaining Egypt to the West. In November 2011, Egyptian riot police beat her, breaking her left arm and right hand, and sexually assaulted her, and she was detained for 12 hours by the Interior Ministry and Military Intelligence. -
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
37Th Annual Nineteenth-Century French Studies Colloquium University of Pennsylvania and Villanova University 27-29 October 2011, Philadelphia, PA
Law & Order / La loi & l’ordre: 37th Annual Nineteenth-Century French Studies Colloquium University of Pennsylvania and Villanova University 27-29 October 2011, Philadelphia, PA ABSTRACTS Helen Abbott, Bangor University Bending the laws of poetry in Baudelaire, Banville and Mallarmé This paper sets out to analyse how poets in the mid-to-late nineteenth century in France distort, manipulate or completely abolish accepted rules of poetry. It will focus on contemporary poetic treatises in conjunction with what poets say about their poetry. Banville’s own treatise will form a pivotal text in my analysis, but I will start with a close-reading of Baudelaire’s octosyllabic sonnet, ‘Épigraphe pour un Livre condamné’, published in 1861, in the wake of his 1857 trial for Les Fleurs du Mal. As a text which signals how Baudelaire bends the laws of poetry, he also outlines how he expects his readers to be capable of grasping the clever subtlety that his manipulations entail. What critical and poetic texts of this era reveal, then, is that prescriptive legislation surrounding poetic endeavours is not done away with altogether, but the emphasis shifts so that a new aesthetic criteria, the art of listening to poetry, takes centre stage in the debate over poetic validity and status. Like Baudelaire, Mallarmé is uneasy about explaining poetic techniques to the public, but when he does so, he uses legislative vocabulary, as his pivotal ‘Crise de vers’ text demonstrates. The influence of Banville’s prosodic theories on Mallarmé is made clear by his recognition that Banville provides an ideal example of how the alexandrine line can open itself up to greater flexibility, whilst not yet requiring a total dissolution of prosodic rules. -
Black Anarchism, Pedro Riberio
TABLE OF CONTENTS 1. Introduction.....................................................................................................................2 2. The Principles of Anarchism, Lucy Parsons....................................................................3 3. Anarchism and the Black Revolution, Lorenzo Komboa’Ervin......................................10 4. Beyond Nationalism, But not Without it, Ashanti Alston...............................................72 5. Anarchy Can’t Fight Alone, Kuwasi Balagoon...............................................................76 6. Anarchism’s Future in Africa, Sam Mbah......................................................................80 7. Domingo Passos: The Brazilian Bakunin.......................................................................86 8. Where Do We Go From Here, Michael Kimble..............................................................89 9. Senzala or Quilombo: Reflections on APOC and the fate of Black Anarchism, Pedro Riberio...........................................................................................................................91 10. Interview: Afro-Colombian Anarchist David López Rodríguez, Lisa Manzanilla & Bran- don King........................................................................................................................96 11. 1996: Ballot or the Bullet: The Strengths and Weaknesses of the Electoral Process in the U.S. and its relation to Black political power today, Greg Jackson......................100 12. The Incomprehensible -
Georges Bataille's Philosophy of Transgression and the Cinema Of
Is Mark of the Devil an Example of Transgressive Cinema? Georges Bataille’s Philosophy of Transgression and the Cinema of the 1970s Marcus Stiglegger translated by Laura Melchior Abstract collective moment of fear, and raises the Witchploitation films of the late 1960s – like question of whether or not this could generate a Mark of the Devil (1970) – were often criticised ‘transgressive cinema’. And in particular it asks: for exploiting inquisitorial violence such as are witchploitation films transgressive? torture and rape for the sake of pure sensation. While the exploitative manner of dealing with Keywords: witchploitation, censorship, historically based violence is clearly an issue, at sensation, transgression, taboo, philosophy, the same time the question of what effect these Georges Bataille, exploitation film, violence, depictions of extreme violence might have on torture. the audience should be raised. Every culture has its own defined and accepted limits, which are made by collective agreement. Reaching and transgressing these limits amounts to the transgression of an interdiction, of a taboo. This article discusses the representations in the media of the act of transgression – commonly associated with the work of the French philosopher and novelist Georges Bataille – as a 21 The witchploitation films which followed the useful to delineate a theoretical key to success of Michael Reeves’s Witchfinder understanding this phenomenon. After General (1968) were often criticised for explaining the notion of transgression according exploiting inquisitorial violence such as torture to Georges Bataille, I will contextualise the and rape for the sake of pure sensation. In witchploitation films by analysing several Germany Mark of the Devil (Hexen bis aufs Blut movies relating to this concept and finally gequält, Michael Armstrong, 1970) was banned comment on the transgressive nature of till 2016, and in England this film was a well- Witchfinder General and Mark of the Devil. -
The Critical Impact of Transgressive Theatrical Practices Christopher J
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 (Im)possibilities of Theatre and Transgression: the critical impact of transgressive theatrical practices Christopher J. Krejci Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Krejci, Christopher J., "(Im)possibilities of Theatre and Transgression: the critical impact of transgressive theatrical practices" (2011). LSU Doctoral Dissertations. 3510. https://digitalcommons.lsu.edu/gradschool_dissertations/3510 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. (IM)POSSIBILITIES OF THEATRE AND TRANSGRESSION: THE CRITICAL IMPACT OF TRANSGRESSIVE THEATRICAL PRACTICES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by Christopher J. Krejci B.A., St. Edward’s University, 1999 M.L.A, St. Edward’s University, 2004 August 2011 For my family (blood and otherwise), for fueling my imagination with stories and songs (especially on those nights I couldn’t sleep). ii Acknowledgements I would like to thank my advisor, John Fletcher, for his expert guidance. I would also like to thank the members of my committee, Ruth Bowman, Femi Euba, and Les Wade, for their insight and support. -
Aftershock: the Ethics of Contemporary Transgressive
HORRORSHOW 5 The Transvaluation of Morality in the Work of Damien Hirst I don’t want to talk about Damien. Tracey Emin1 With these words Tracey Emin deprived the art world of her estimation of her nearest contemporary and perhaps the most notorious artist associated with the young British art phenomenon. Frustrating her interviewer’s attempt to discuss Damien Hirst is of course entirely Emin’s prerogative; why should she be under any obligation to discuss the work of a rival artist in interview? Given the theme of this book, however, no such discursive dispensation can be entertained. Why Damien Hirst? What exactly is problematic about Hirst’s art? It is time to talk about Damien. An early installation When Logics Die (1991) provides a useful starting point for identifying the features of the Hirstean aesthetic. High-definition, post- mortem forensic photographs of a suicide victim, a road accident fatality and a head blown out by a point-blank shotgun discharge are mounted on aluminium above a clinical bench strewn with medical paraphernalia and biohazard material. Speaking to Gordon Burn in 1992, the artist explained that what intrigued him about these images was the incongruity they involve: an obscene content yet amenable to disinterested contemplation in the aesthetic mode as a ‘beautiful’ abstract form. ‘I think that’s what the interest is in. Not in actual corpses. I mean, they’re completely delicious, desirable images of completely undesirable, unacceptable things. They’re like cookery books.’2 Now remember what he’s talking about here. Sustained, speculative and clinically detached, Hirst’s preoccupation with the stigmata of decomposition, disease and mortal suffering may be considered to violate instinctive taboos forbidding pleasurable engagement with the spectacle of death. -
Issue Six Dec. 2017 Angel City Review Foreword
Issue Six Dec. 2017 Angel City Review Foreword There comes a moment for all of us when we come to understand that truth is not immutable pillar of reality that we were raised to believe in. A teenager begins to understand that not only are there people who do not believe in God but that there are even people who don’t believe in any god. A red-blooded American patriot watches a video of refugees and political prisoners displaced by an autocratic government supported by the United States. A literature student takes a class and learns names like Derrida and Foucault and that maybe words themselves are something of a fiat currency. Learning that things are relative, that context is an, if not the, ultimate arbiter, can be a transcendental experience for the mind and the soul. And yet with every choice, something is gained and something is lost. In our rush to explore the infinite possibilities of our newfound philosophical freedom, we have seen what happens to the people in our wake. Some have been left wounded and ignored in the excitement to declare all things constructs of the mind. Some have used this wave of relativism as a tool of exploitation, equivocating crimes against humanity and the world by declaring them as inevitable or simply a matter of perspective. This way of looking at the multiverses beyond and inside our minds is neither a unquestionable good nor an abject evil. Like any tool, it simply is. And as always, what matters is how we use it. For starters, we cannot forget context. -
MENA Women News Briefdownload
May 29: Afghan women denied justice over violence, United Nations says “A law meant to protect Afghan women from violence is being undermined by authorities who routinely refer even serious criminal cases to traditional mediation councils that fail to protect victims, the United Nations said on Tuesday. The Elimination of Violence against Women (EVAW) law, passed in 2009, was a centerpiece of efforts to improve protection for Afghan women, who suffer widespread violence in one of the worst countries in the world to be born female.” (Reuters) May 31: Female Genital Mutilation is Declared Religiously Forbidden in Islam “Egyptian Dar Al-Iftaa declared that female genital mutilation (FGM) is religiously forbidden on May 30, 2018, adding that banning FGM should be a religious duty due to its harmful effects on the body. Dar Al- Iftaa also explained that FGM is not mentioned in Islamic laws and that it only still occurs because it’s considered to be a social norm in the rural areas and some poor parts of Egypt. FGM is considered as an attack on religion through damaging the most sensitive organ in the female body. In Islam, protecting the body from any harm is a must and mutilation violates this rule.” (Egypt Today) June 4: Government proposes new draft law to ban early marriage “Egypt's government has proposed a new draft law that includes amendments to the child law article 12 of 1996, which states cases in which parents could be deprived from the authority of guardianship over the girl or her property…Hawary told Egypt Today that this bill stipulates that a father who forces his daughter to get married before reaching the age of marriage will be deprived from the authority of guardianship over the girl or her property.” (Egypt Today) June 4: Youth, women, and minorities have valid concerns “Iranian President Hassan Rouhani admitted on Friday that the youth, women and minorities have legitimate grievances, Anadolu Agency reported, citing the Iranian presidency’s official website. -
The Anarchist Collectives Workers’ Self-Management in the Spanish Revolution, 1936–1939
The Anarchist Collectives Workers’ Self-Management in the Spanish Revolution, 1936–1939 Sam Dolgoff (editor) 1974 Contents Preface 7 Acknowledgements 8 Introductory Essay by Murray Bookchin 9 Part One: Background 28 Chapter 1: The Spanish Revolution 30 The Two Revolutions by Sam Dolgoff ....................................... 30 The Bolshevik Revolution vs The Russian Social Revolution . 35 The Trend Towards Workers’ Self-Management by Sam Dolgoff ....................................... 36 Chapter 2: The Libertarian Tradition 41 Introduction ............................................ 41 The Rural Collectivist Tradition by Sam Dolgoff ....................................... 41 The Anarchist Influence by Sam Dolgoff ....................................... 44 The Political and Economic Organization of Society by Isaac Puente ....................................... 46 Chapter 3: Historical Notes 52 The Prologue to Revolution by Sam Dolgoff ....................................... 52 On Anarchist Communism ................................. 55 On Anarcho-Syndicalism .................................. 55 The Counter-Revolution and the Destruction of the Collectives by Sam Dolgoff ....................................... 56 Chapter 4: The Limitations of the Revolution 63 Introduction ............................................ 63 2 The Limitations of the Revolution by Gaston Leval ....................................... 63 Part Two: The Social Revolution 72 Chapter 5: The Economics of Revolution 74 Introduction ........................................... -
Contesting Tradition and Combating Intolerance a History of Free Thought in Kansas
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Fall 2000 Contesting Tradition And Combating Intolerance A History Of Free thought In Kansas Aaron K. Ketchell University of Kansas, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Ketchell, Aaron K., "Contesting Tradition And Combating Intolerance A History Of Free thought In Kansas" (2000). Great Plains Quarterly. 2129. https://digitalcommons.unl.edu/greatplainsquarterly/2129 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. CONTESTING TRADITION AND COMBATING INTOLERANCE A HISTORY OF FREETHOUGHT IN KANSAS AARON K. KETCHELL Diversity is the hallmark of freethought in Although the attitudes of freethinkers toward Kansas, for freethinkers were never a homoge religion are the primary concern of this essay, neous body. The movement was not only reli it must be remembered that freethinkers had gious, or for that matter, antireligious, different ideas about what the movement although the majority of social and political meant and that opposition to organized reli issues that it addressed had religious ground gion was only one, but a crucial element of the ing. No one specific organized group domi freethought agenda. nated historical Kansas freethinking. Instead, In order to understand the history of individuals in the form of editors of various freethought in Kansas one must first define newspapers, journals, and book series became the movement and its ideology. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Dirty Work: Labor, Dissatisfaction and Everyday Life in Contemporary French Literature and Culture (1975-present) Permalink https://escholarship.org/uc/item/9586x4bj Author Fronsman-Cecil, Dorthea Margery Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Dirty Work: Labor, Dissatisfaction and Everyday Life in Contemporary French Literature and Culture (1975-present) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in French and Francophone Studies by Dorthea Margery Fronsman-Cecil 2018 © Copyright by Dorthea Margery Fronsman-Cecil 2018 ABSTRACT OF THE DISSERTATION Dirty Work: Labor, Dissatisfaction and Everyday Life in Contemporary French Literature and Culture (1975-present) by Dorthea Margery Fronsman-Cecil Doctor of Philosophy in French and Francophone Studies University of California, Los Angeles, 2018 Professor Lia N. Brozgal, Chair “Dirty Work: Labor, Dissatisfaction and Everyday Life in Contemporary French Literature and Culture (1975-present),” is an analysis of the representation of everyday activities – namely, of work, leisure, and consumerism – in contemporary French novels and other cultural productions. This dissertation examines how these contemporary texts use narrative, generic, and stylistic experiments to represent cynicism and dissatisfaction with everyday life as the consequences of neoliberal