DOCSLIB.ORG

Beyond the Cinema? Digital Adaptation, Media Ecology, and Performance in the CD-ROM Environment

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beyond the Cinema? Digital Adaptation, Media Ecology, and Performance in the CD-ROM Environment Université de Montréal Beyond the Cinema? Digital Adaptation, Media Ecology, and Performance in the CD-ROM Environment par BRUNO LES SARD Département de littérature comparée Faculté des arts et des sciences Thèse présentée à la Faculté des études supérieures en vue de l’obtention du grade de Philosophiae doctor (Ph.D.) en littérature option « littérature et cinéma» Decembre, 2005 UtI -J © Bruno Lessard, 2005 o \ftCI Q Université de Montréal Direction des bibliothèques AVIS L’auteur a autorisé l’Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y a aucun contenu manquant. NOTICE The author of this thesis or dissertation has granted a nonexclusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes. The author and co-authors if applicable retain copyright ownership and moral rights in this document. Neither the whole thesis or dissertation, nor substantial extracts from it, may be printed or otherwise reproduced without the author’s permission. In compliance with the Canadian Privacy Act some supporting forms, contact information or signatures may have been removed from the document. While this may affect the document page count, it does not represent any loss of content from the document. f - Université de Montréal Faculté des études supérieures Cette thèse intitulée: Beyond the Cinema? Digital Adaptation, Media Ecology, and Performance in the CD-ROM Environment présentée par: BRUNO LES SARD a été évaluée par un jury composé des personnes suivantes: - Amaryli Chanady ivia Monnet directrice de recherche / Najat Rahman pour Tonglin Lu membre du jury Thomas Lamarre M±chael Eberle—Sinatra Thbse accept6e le mars 2006 ABSTRACT This dissertation examines four art CD-ROMs produced between 1997 and 2000: Zoe Beloifs Beyond, Adriene Jenik’s Mauve Desert: A CD-ROM Translation, Simon Biggs’s The Great Wall of China, and Jean-Louis Boissier’s Moments de Jean-Jacques Rousseau. Foregrounding intermedia adaptation between visual and textual, analog and digital media, these CD-ROMs re envision literary texts by writers as diverse as Villiers de l’lsle-Adam, Raymond Roussel, Nicole Brossard, Franz Kafka, and Jean-Jacques Rousseau. In its discussion of these digital artworks, this study proposes new concepts and theoretical frameworks for rethinking central issues in digital arts, film studies, and comparative cultural studies. One 0f these issues concerns corporeal performance in the CD-ROM environment; another explores the interactor’s reception strategies — reading, viewing, hearing, and feeling — in the digital media ecology. These digital adaptations and performances are analyzed in the context of a media ecological perspective that takes issue with teleological accounts of digital media. Departing from neo-formalist assessments of digital media and arts that focus on technological progress and innovation, I emphasize the manner in which the CD-ROM partakes of an (inter)media genealogy that favours recuperation, hybridization, repetition, and emulation processes over supposed technological advancements. The art CD-ROMs I examine do flot wish to transcend or replace the cinematic imaginary; evolving in an uncanny, subversive temporal loop, they rather seem intent on reformulating the history of visual culture and performance. This dissertation, while paying attention to the materiality of the CD-ROM, lays more stress on the centrality of cultural issues such as embodiment, gender, sexuality, race, ethnicity, and subjectivity and argues that the study of the digital media ecology should center around the survival and reconceptualization of visual forms and cultural discourses. The four chapters offer close readings of the visual and discursive constïtuents of the CD-ROMs in which historical, linguistic, and cultural narratives such as the history of female medïumship, post-femïnist iv translation theory, the Orientalist discourse in Europe, and the archiving of eighteenth-century visual culture corne back to life in digitized form. As one of the first sustained studies of art CD-ROMs, this dissertation proposes new concepts for grounding further analyses of the emergent genre of digital adaptation. Keywords: film adaptation — digital arts — multimedia — digital cinema. RÉSUMÉ Celle thèse explore quatre cédéroms artistiques réalisés entre 1997 et 2000: Beyond de Zoe Beloif, Mauve Desert: A CD-ROM Translation d’Adriene Jenik, The Great WaIl of China de Simon Biggs et Moments de Jean-Jacques Rousseau de Jean-Louis Boissier. Théorisant l’adaptation intermédiatique entre médias visuels et textuels, analogues et numériques, ces cédéroms remanient dans un environnement numérique des oeuvres littéraires d’écrivains aussi divers que Villiers de l’lsle-Adam, Raymond Roussel, Nicole Brossard, Franz Kafka et Jean-]acques Rousseau. Dans son analyse d’oeuvres numériques, celle étude propose de nouveaux concepts et bases théoriques pour repenser des problématiques centrales en arts médiatiques, en études cinématographiques et en études culturelles comparées. Une des problématiques concerne la performance corporelle dans l’environnement du cédérom; une autre interroge les stratégies de réception de l’interacteur — lire, regarder, écouter et ressentir — dans l’écologie du médium numérique. Ces adaptations et performances numériques sont interprétées dans le contexte d’une perspective d’écologie médiatique qui s’oppose à certaines analyses téléologiques des médias numériques. M’éloignant d’évaluations néo formalistes des arts et médias numériques qui privilégient le progrès technologique et l’innovation, j’insiste sur la façon dont le cédérom fait partie d’une généalogie (inter)médiatique qui accentue des processus de récupération, d’hybridation, de répétition et d’émulation plutôt que de supposés avancements technologiques. Les cédéroms artistiques que j’analyse ne désirent pas dépasser ou remplacer l’imaginaire cinématographique; évoluant dans une boucle temporelle étrange et subversive, ils semblent plutôt enclins à reformuler l’histoire de la culture visuelle et de la performance. Celle thèse, tout en portant attention à la matérialité du cédérom, insiste davantage sur la primauté de problématiques culturelles comme la corporéité, le genre, la race, l’ethnicité et la subjectivité et soutient que l’étude de l’écologie des médias numériques devrait se concentrer sur la survivance et la te conceptualisation de formes visuelles et de discours culturels. Les quatre vi chapitres consacrent des analyses approfondies des matériaux visuels et discursifs des cédéroms dans lesquelles des récits historiques, linguistiques et culturels tels que l’histoire de la médiumnité féminine, la théorie post-féministe de la traduction, le discours orientaliste européen et l’archivage de la culture visuelle du dix-huitième siècle reviennent à la vie sous forme numérique. En tant qu’une des premières études soutenues du cédérom artistique, cette thèse propose de nouveaux concepts pour ancrer de nouvelles analyses du genre émergent qu’est l’adaptation numérique. Mots-clés: adaptation cinématographique — arts médiatiques — multimédia — cinéma numérique. TABLE 0F CONTENTS Abstract. iii Résumé y Table 0f Contents vii List of Illustrations X Remerciements xi INTRODUCTION 1 Whither Literary and Film Studies9 5 Media Ecology and the CD-ROM 10 Digital Performance: The Interactor, the Performance-Image, and Haptics 16 Notes 25 CHAPTER I Back to the Future: Digital Mediumship and the Performance of the Female Body and Voice in Zoe Beloff’s Beyond 1.1 Introduction: The Work 0f Zoe Beloif and Beyond 31 1.2 QuickTime Movies in Beyond 48 1.3 The Performance of the Female Body and Voice 53 Notes 76 VIII CHAPTER2 The Cînemato(holo)graphy of Performance: Translation and Gender in Adriene Jeniks Mauve Desert: A CD-ROM Translation 2.1 Introduction: Adriene Jenik’s Work and Mauve Desert 82 2.2 Brossard’s Le Désert mauve 85 2.3 The Double Translation: Language and Space on Jenik’s CD-ROM. ..95 2.4 Performance in Mauve Desert: A CD-ROM Translation 110 Notes 126 CHAPTER 3 (De)Coding and Performing Chineseness: Simon Biggs’s The Great WaII of China 3.1 Introduction: Simon Biggs’s Works and The Great Wallof China 130 3.2 Franz Kafka and “New Media” 135 3.3 The Ghost in the Machine: Biggs’s Computer Language 141 3.4 Performing Chineseness, or, Lost in (Digital) Translation 155 Notes 172 CHAPTER4 Performing and Archiving the Gaze: Visuality, the Senses, and Digital Memory in Jean-Louis Boissier’s Moments de Jean-Jacques Rousseau 4.1 Bossier’s Works and Moments de Jean-Jacques Rousseau 176 4.2 Marey’s Heir: Boissier’s Interactive Chronophotography 179 4.3 “A Mirror up to Nature7’: The Gaze as Reflection and Sensuous Contact 189 ix 4.4 Leaves of Glass: Botany’s Mirroring Effects and the Ecological Archive 206 Notes 215 CODA: Ail Roads Lead to ROM(E) 219 ILLUSTRATIONS 227 BIBLIOGRAPHY 239 UST 0F ILLUSTRATIONS Fig. 1. Théâtre de l’univers (c.1750) page 228 2. StiIl from Beyond 229 3. StiIl from Beyond 230 4. Marthe Béraud (aka Eva C.) 231 5. StiIl from Mauve Desert 232 6. StiIl from Mauve Desert 233 7. StiIl from The Great WaII of China 234 8. Stïll from Moments de Jean-Jacques Rousseau 235 9. StiIl from Moments de Jean-Jacques Rousseau 236 10. StiIl from Moments de Jean-Jacques Rousseau 237 11.
Load more

Recommended publications
  • View Sample Pages
    CHINA RESEARCH MONOGRAPH 51 F M" INSTITUTE OF EAST ASIAN STUDIES ~ '-J UNIVERSITY OF CALIFORNIA • BERKELEY c::<::s CENTER FOR CHINESE STUDIES Cross-Cultural Readings of Chineseness Narratives, Images, and Interpretations of the 1990s EDITED BY Wen-hsin Yeh A publication of the Institute of East Asian Studies, University of Califor­ nia, Berkeley. Although the Institute of East Asian Studies is responsible for the selection and acceptance of manuscripts in this series, responsibil­ ity for the opinions expressed and for the accuracy of statements rests with their authors. Correspondence and manuscripts may be sent to: Ms. Joanne Sandstrom, Managing Editor Institute of East Asian Studies University of California Berkeley, California 94720-2318 E-mail: [email protected] The China Research Monograph series is one of several publications series sponsored by the Institute of East Asian Studies in conjunction with its constituent units. The others include the Japan Research Monograph series, the Korea Research Monograph series, and the Research Papers and Policy Studies series. A list of recent publications appears at the back of the book. Library of Congress Cataloging-in-Publication Data Cross-cultural readings of Chineseness : narratives, images, and interpretations of the 1990s I edited by Wen-hsin Yeh. p. em. - (China research monograph; 51) Collection of papers presented at the conference "Theoretical Issues in Modern Chinese Literary and Cultural Studies". Includes bibliographical references ISBN 1-55729-064-4 1. Chinese literature-20th century-History and criticism Congresses. 2. Arts, Chinese-20th century Congresses. 3. Motion picture-History and criticism Congresses. 4. Postmodernism-China Congresses. I. Yeh, Wen-hsin.
    [Show full text]
  • DECEMBER 2005 WINTER ISSUE Special Feature on Hong Kong By
    DECEMBER 2005 WINTER ISSUE INSIDE Special Feature on Hong Kong by Tobias Berger, John Millichap, Lee Weng Choy, Eliza Patten, Norman Ford, Sean Chen Monumentality and Anti—Monumentality in Gu Wenda’s Forest of Stone Steles-A Retranslation and Rewriting of Tang Poetry Zhang Dali: The Face of China A Visual Koan: Xu Bing's Dynamic Desktop Interviews with Oscar Ho, Uli Sigg, Xu Bing About the Chinese Presentation at the 2005 Yokohama Triennale US$12.00 NT$350.00 US$10.00 NT$350.00 Art & Collection Editor’s Note Contributors Hong Kong SAR: Special Art Region Tobias Berger p. 16 The Problem with Politics: An Interview with Oscar Ho John Millichap Tomorrow’s Local Library: The Asia Art Archive in Context Lee Weng Choy 24 Report on “Re: Wanchai—Hong Kong International Artists’ Workshop” Eliza Patten Do “(Hong Kong) Chinese” Artists Dream of Electric Sheep? p. 29 Norman Ford When Art Clashes in the Public Sphere— Pan Xing Lei’s Strike of Freedom Knocking on the Door of Democracy in Hong Kong Shieh-wen Chen Monumentality and Anti-Monumentality in Gu Wenda’s Forest of Stone Steles—A Retranslation and Rewriting of Tang Poetry Wu Hung From Glittering “Stars” to Shining El Dorado, or, the p. 54 “adequate attitude of art would be that with closed eyes and clenched teeth” Martina Köppel-Yang Zhang Dali: The Face of China Patricia Eichenbaum Karetzky Collecting Elsewhere: An Interview with Uli Sigg Biljana Ciric A Dialogue on Contemporary Chinese Art: The One-Day Workshop “Meaning, Image, and Word” Tsao Hsingyuan p.
    [Show full text]
  • Artist: Period/Style: Patron: Material/Technique: Form
    TITLE:Vietnam Veterans Memorial LOCATION: Washington, D.C., U.S. DATE: . 1982 C.E. ARTIST: Maya Lin PERIOD/STYLE: Minimalism PATRON: The Commision of Fine Arts MATERIAL/TECHNIQUE: Granite FORM: Highly reflective black granite with incised names of 58,000 names ofVietnam Veterans who sacrificed their lives during the conflict. The name is an abstraction that means more to the family and friends than a pictorial representation. The two walls start very short and get progressively taller until they meet at an oblique angle at the monument’s center. One wall points towards the Washington Monument; the other points to the Lincoln Memorial. FUNCTION: It functions as a memorial to the soldiers that died during the Vietnam War. It is an ideal place for people to come and spend quiet time reflecting on the names and perhaps leaving mementos to the deceased. CONTENT: The walls are made of a dark igneous rock called gabbro, a type of granite, which is highly reflective when polished.The surface of the monument is etched with the 58,195 names of the Americans who died or remained missing in action in the Vietnam War. The names are listed in the order in which they were reported killed or missing in action. This makes the names harder to find, and re- quires a listing and numeric system of organization for visitors. CONTEXT: There were 1400 anonymous entries for this commission. There was a real backlash once her identity was known because of latent racism in the post Vietnam era. She defended her design in front of the United States Congress, who eventually reached a compro- mise: A group of more “traditional” sculptures, called “The Three Soldiers,” was erected near the monument.
    [Show full text]
  • Raja Ravi Varma 145
    viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art.
    [Show full text]
  • Impeded Language in EE Cummings' Poetry and Xu
    Western Washington University Western CEDAR WWU Honors Program Senior Projects WWU Graduate and Undergraduate Scholarship Spring 1995 Extraordinary Language: Impeded Language in E.E. Cummings’ Poetry and Xu Bing’s Book from the Sky Anna Neher Western Washington University Follow this and additional works at: https://cedar.wwu.edu/wwu_honors Part of the Arts and Humanities Commons Recommended Citation Neher, Anna, "Extraordinary Language: Impeded Language in E.E. Cummings’ Poetry and Xu Bing’s Book from the Sky" (1995). WWU Honors Program Senior Projects. 262. https://cedar.wwu.edu/wwu_honors/262 This Project is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Honors Program Senior Projects by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. WESTERN WASHINGTON UNIVERSITY An equal opportunity university Honors■ Program HONORS THESIS In presenting this Honors paper in partial requirements for a bachelor ’s degree at Western Washington University, 1 agree that the Library shall make its copies freely available for inspection. I further agree that extensive copying of this thesis is allowable only for scholarly purposes. It is understood that any publication of this thesis for commercial purposes or for financial 2 ain shall not be allowed without mv written permission. Signature Date G- Anna Neher 1 Anna Neher Dr. Melissa Walt Honors Senior Project June 10, 2005 Extraordinary Language: Impeded Language in E.E. Cummings’ Poetry and Xu Bing’s Book from the Sky ”In the twentieth century as never before, form calls attention to itself..
    [Show full text]
  • Manifestopdf Cover2
    A Manifesto for the Book Sarah Bodman and Tom Sowden A Manifesto for the Book Sarah Bodman and Tom Sowden with an edited selection of interviews, essays and case studies from the project What will be the canon for the artist’s book in the 21st Century? 1 A Manifesto for the Book Published by Impact Press at The Centre for Fine Print Research University of the West of England, Bristol February 2010 Free download from: http://www.bookarts.uwe.ac.uk/canon.htm This publication is a result of a project funded by the Arts and Humanities Research Council from March 2008 - February 2010: What will be the canon for the artist’s book in the 21st Century? The AHRC funds postgraduate training and research in the arts and humanities, from archaeology and English literature to design and dance. The quality and range of research supported not only provides social and cultural benefits but also contributes to the economic success of the UK. For further information on the AHRC, please see the website www.ahrc.ac.uk ISBN 978-1-906501-04-4 © 2010 Publication, Impact Press © 2010 Images, individual artists © 2010 Texts, individual authors Editors Sarah Bodman and Tom Sowden The views expressed within A Manifesto for the Book are not necessarily those of the editors or publisher. Impact Press, Centre for Fine Print Research UWE, Bristol School of Creative Arts Kennel Lodge Road, Bristol BS3 2JT United Kingdom Tel: +44 (0) 117 32 84915 Fax: +44 (0) 117 32 85865 www.bookarts.uwe.ac.uk [email protected] [email protected] 2 Contents Interview with Eriko Hirashima founder of LA LIBRERIA artists’ bookshop in Singapore 109 A Manifesto for the Book Sarah Bodman and Tom Sowden 5 Interview with John Risseeuw, proprietor of his own Cabbagehead Press and Director of ASU’s Pyracantha Interview with Radoslaw Nowakowski on publishing his own Press, Arizona State University, USA 113 books and artists’ books “non-describing the world” since the 70s in Dabrowa Dolna, Poland.
    [Show full text]
  • Ualbany Art Museum Marks Its 50Th Year Venue Helped Energize Local Art Scene
    UAlbany art museum marks its 50th year Venue helped energize local art scene By Amy Biancolli on October 22, 2017 Jason Middlebrook's "Live with Less," his 2009 installation at the UAM (image courtesy University at Albany / University Art Museum) Fifty years ago, an airy new venue for contemporary art opened up in Albany, one among the many modernist structures sprawled in the new uptown SUNY campus designed by the architect Edward Durell Stone. The museum was spacious and bright with windows, light spilling into upstairs and downstairs galleries ringing an open, soaring atrium that reached 35 feet to the roof. Its inaugural exhibit, which opened Oct. 5, 1967, featured paintings and sculptures from the collection of Gov. Nelson Rockefeller, the governor of New York and the state's most famous patron of abstract- expressionist artwork. "It really changed the contemporary landscape for our region — really, forever," said Tammis K. Groft, executive director of the Albany Institute of History and Art, the venerable museum best known for its cultural artifacts and collection of 19th-century Hudson River School paintings. SUNY's new cultural bastion of poured concrete cracked open a local arts scene more focused on the past than the present and future: the Institute was the old guard, slanted toward history. In the years since UAM opened, several regional havens for contemporary art have sprung into being. Among them: Albany Center Gallery in 1977. The Rice Gallery at the Albany Institute of History & Art, 1982. Mass MoCA, 1999. The Tang, 2000. The Opalka Gallery at Sage, 2002. "There are many more organizations focused on contemporary art" around the region these days, said Janet Riker, former director.
    [Show full text]
  • BOOK REVIEWS the Visual Artist"S Business and Legal Guide, Compiled and Edited by Gregory T
    BOOK REVIEWS The Visual Artist"s Business and Legal Guide, compiled and edited by Gregory T. Victoroff IR@FErnNCE (Englewood Cliffs, NJ, Prentice Hall, paperback, n.p.) Speaking of Reading by Nadine Rosenthall is a presentation of the Beverly Mills Bar Association (Portsmouth, NK, Heinemann, 1995, $23.95) includes Committee for the Arts and is a basic handbook for 77 short interviews, shaped into essays, in which the artists with regard to copyright, the Visual Artists' interviewees describe how reading--or not reading--has Rights Act, the legal definition of Art, regulation of affected their lives. Poignant, inspiring and Fine Art Multiples, Art Destructions, and Photography imaginative, the readers include everyone from Isabel and Law. In addition, there are contracts, consignment Mlende to Kareem Abdul-Jabbar, from Ronnie Gilbert documents, analysis of a control for mural or other (one of the Weavers) to Linus Pauling, from Gloria public art, the Artist's Reserved Rights Transfer and Steinem to Maxine Hong-Kingston. And don't forget Sale Agreement, Analysis of an Artist and Robert MacNeil from the MacNeil - Lehrer Report, who Representative Agreement, contracts for Employment, has a passion for words. as well as Tools for Selling your Work by Nat Dean, The narratives are arranged into categories that bring William Turner and others, including packing and together distinct types of reader: literature readers, shipping artwork, rnuseunl deaccession policies and art frustrated readers, those who have been influenced by fraud. childhood reading experiences voracious readers, There are chapters on grant writing, when to hire a habitual readers, new adult readers, information larvyer, getting the nloney owed you, mediation for readers, and those who are aware of their reading visual artists, artists and insurance, arid lots more.
    [Show full text]
  • 229. a Book from the Sky Xu Bing. 1987-1991 C.E. Mixed-Media
    229. A Book From the Sky Xu Bing. 1987-1991 C.E. Mixed-media installation Video at Khan Academy a book produced by Chinese artist Xu Bing in the style of fine editions from the Song and Ming dynasties, but filled entirely with meaningless glyphs designed to resemble traditional Chinese characters.[1] The book, which consists of four volumes totaling 604 pages, was printed in a single print run of 126 copies between 1987 and 1991 Title changed from original western influence name to one that was popular: thedecided to adopt the name that was already in popular use, Tiānshū. In Chinese, the term tiān shū (“divine writing”) originally referred to certain kinds of religious texts, but is now used to mean “gibberish”; it has thus been suggested that Nonsense Writing would be a more appropriate translation of the title The book is composed using a set of 4,000 characters, as this is roughly the number of characters in common usage in modern written Mandarin. These characters were designed on the basis of the Kangxi radicals, so that “in terms of density of strokes and frequency of occurrence, they…appear, on the page, to be real characters“.[2]:55 In addition to these, page and fascicle numbers were indicated using tally marks based on the Chinese character 正 o This was one of the last remaining traditional printing factories in China, which after the Cultural Revolution mainly produced state-sponsored reprints of classical texts using pre-Revolution woodblocks o The characters were carved into individual pieces of movable type made from pear wood Reactions: o Critical reactions to Book from the Sky were initially dismissive.
    [Show full text]
  • NSK: from KAPITAL to CAPITAL Neue Slowenische Kunst an Event of the Final Decade of Yugoslavia
    NSK: FROM KAPITAL TO CAPITAL Neue Slowenische Kunst An Event of the Final Decade of Yugoslavia Exhibition Guide NSK: FROM KAPITAL TO CAPITAL Neue Slowenische Kunst An Event of the Final Decade of Yugoslavia Exhibition Guide Garage Museum of Contemporary Art NSK: From Kapital to Capital Neue Slowenische Kunst–An Event of the Final Decade of Yugoslavia September 30–December 9, 2016 Moderna galerija curatorial team Zdenka Badovinac, Exhibition Curator Ana Mizerit, Assistant Curator Garage Museum of Contemporary Art curatorial team Snejana Krasteva, Curator Valentina Osokina, Project Manager Anastasia Komarova, Exhibition Design Garage Museum of Contemporary Art management team Anton Belov, Director Kate Fowle, Chief Curator Anastasia Tarasova, Head of Exhibitions, Education and Research Darya Kotova, Head of Development, Marketing and Advertising Exhibition team Sergey Antropov, Yana Babanova, Katia Barinova, Viktoria Dushkina, Kristina Efremenko, Anastasia Evtushenko, Olga Federyagina, Andrey Fomenko, Kit Hell, Anna Ignatenko, Ekaterina Istratova, Alyona Ishuk, Sergey Klyucherev, Vlad Kolesnikov, Dmitriy Konyakhin, Maria Lubkova, Emil Milushev, Anastasia Mityushina, Dmitriy Nakoryakov, Dmitriy Nikitin, Roman Nikonov, Galina Novotortseva, Alexey Pevzner, Maria Sarycheva, Alexandra Serbina, Anastasia Shamshayeva, Alyona Solovyova, Anna Statsenko, Sona Stepanyan, Evgeniya Tolstykh, Ekaterina Valetova, Aleksandr Vasilyev, Ekaterina Vladimirtseva, Alesya Veremyeva, Yuriy Volkov, Anna Yermakova, Elena Zabelina Guide This publication is based
    [Show full text]
  • The AALITRA Review a JOURNAL of LITERARY TRANSLATION No
    The AALITRA Review A JOURNAL OF LITERARY TRANSLATION No. 10, May 2015 Website: http://aalitra.org.au Translation Plus: On Literary Translation and Creative Writing Nicholas Jose To cite this Article: Jose, Nicholas. “Translation Plus: On Literary Translation and Creative Writing.” The AALITRA Review: A Journal of Literary Translation 10 (Melbourne: Monash University, May 2015): 5-17. Translation Plus: On Literary Translation and Creative Writing NICHOLAS JOSE Adelaide University Abstract How do the disciplines of translation studies and creative writing relate in an institutional setting or in current practice more broadly? What role does translation play in the creative writing workshop or classroom, especially for students writing in English as a second language? What benefits are there in the interchange? What can translation add? The article considers these questions in a wide-ranging discussion of writing processes that recognize translation as both a constraint and a highly elastic and enabling concept. Reference is made to writers such as Juan Pablo Villalobos, Ben Lerner and Merlinda Bobis whose work is thematically concerned with issues of translation, and the author’s own novel, The Red Thread, which adapts a Chinese text, as well as pedagogical experiments in creative writing involving literary texts from languages other than English. This contributes to an argument that translation is an integral part of contemporary creative practice in a world characterized by mobility, multiplicity and transculturalism. Did she say Ivanhoe? All around those parts is where the man lived who was right meat for her. A long time ago it must be, they took a fancy to one another.
    [Show full text]
  • Literacy Revolution: How the New Tools of Communication Change the Stories We Tell
    Dominican Scholar Graduate Master's Theses, Capstones, and Culminating Projects Student Scholarship 5-2017 Literacy Revolution: How the New Tools of Communication Change the Stories We Tell Molly Gamble Dominican University of California https://doi.org/10.33015/dominican.edu/2017.hum.04 Survey: Let us know how this paper benefits you. Recommended Citation Gamble, Molly, "Literacy Revolution: How the New Tools of Communication Change the Stories We Tell" (2017). Graduate Master's Theses, Capstones, and Culminating Projects. 282. https://doi.org/10.33015/dominican.edu/2017.hum.04 This Master's Thesis is brought to you for free and open access by the Student Scholarship at Dominican Scholar. It has been accepted for inclusion in Graduate Master's Theses, Capstones, and Culminating Projects by an authorized administrator of Dominican Scholar. For more information, please contact [email protected]. LITERACY REVOLUTION: HOW THE NEW TOOLS OF COMMUNICATION CHANGE THE STORIES WE TELL A culminating thesis submitted to the faculty of Dominican University in partial fulfillment of the requirements for the Master of Arts in Humanities by Molly Gamble San Rafael, California May 2017 © Copyright 2017 – by Molly Gamble All rights reserved ii Advisor’s Page This thesis, written under the direction of the candidate’s thesis advisor and approved by the Chair of the Master’s program, has been presented to and accepted by the faculty of the Humanities department in partial fulfillment of the requirements for the degree of Masters of Humanities. The content and research methodologies presented in this work present the work of the candidate alone Molly Gamble- Candidate May 9, 2016 Joan Baranow, Ph.D- Graduate Humanities Program Director May 9, 2016 Leslie Ross, Ph.D- Primary Thesis Advisor May 9, 2016 Philip Novak, Ph.D- Secondary Thesis Advisor May 9, 2016 iii ABSTRACT The transmission of culture depends upon every generation reconsidering what it means to be literate.
    [Show full text]