On Assemblages and Geography
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Translation: an Advanced Resource Book
TRANSLATION Routledge Applied Linguistics is a series of comprehensive resource books, providing students and researchers with the support they need for advanced study in the core areas of English language and Applied Linguistics. Each book in the series guides readers through three main sections, enabling them to explore and develop major themes within the discipline: • Section A, Introduction, establishes the key terms and concepts and extends readers’ techniques of analysis through practical application. • Section B, Extension, brings together influential articles, sets them in context, and discusses their contribution to the field. • Section C, Exploration, builds on knowledge gained in the first two sections, setting thoughtful tasks around further illustrative material. This enables readers to engage more actively with the subject matter and encourages them to develop their own research responses. Throughout the book, topics are revisited, extended, interwoven and deconstructed, with the reader’s understanding strengthened by tasks and follow-up questions. Translation: • examines the theory and practice of translation from a variety of linguistic and cultural angles, including semantics, equivalence, functional linguistics, corpus and cognitive linguistics, text and discourse analysis, gender studies and post- colonialism • draws on a wide range of languages, including French, Spanish, German, Russian and Arabic • explores material from a variety of sources, such as the Internet, advertisements, religious texts, literary and technical texts • gathers together influential readings from the key names in the discipline, including James S. Holmes, George Steiner, Jean-Paul Vinay and Jean Darbelnet, Eugene Nida, Werner Koller and Ernst-August Gutt. Written by experienced teachers and researchers in the field, Translation is an essential resource for students and researchers of English language and Applied Linguistics as well as Translation Studies. -
Consumption, Pastiche and Identity in Postmodern Visual Culture
CONSUMPTION, PASTICHE AND IDENTITY IN POSTMODERN VISUAL CULTURE by Marianna Jadwiga Winczewski Submitted in partial fulfilment for the degree of Magister Artium in Information Design FACULTY OF HUMANITIES UNIVERSITY OF PRETORIA OCTOBER 2008 Supervisor: Prof E Dreyer © University of Pretoria I declare that the writing and technical production of Pastiche, Consumption and Identity in Postmodern Visual Culture is entirely my own work. All sources that I have used or quoted have been indicated and acknowledged by means of complete references. This document is the copyrighted property of the University of Pretoria, and may not be reproduced or copied in any form. Should this research or sections thereof be quoted or referred to in any way, this must be acknowledged in full. Signature __________________________________ Date _______ ii UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES DEPARTMENT OF VISUAL ARTS I (full names) Marianna Jadwiga Winczewski Student number 20148242 Subject of the work Pastiche, Consumption and Identity in Postmodern Visual Culture Declaration 1. I understand what plagiarism entails and am aware of the University’s policy in this regard. 2. I declare that this mini-dissertation is my own, original work. Where someone else’s work was used (whether from a printed source, the internet or any other source) due acknowledgement was given and reference was made according to departmental requirements. 3. I did not make use of another student’s previous work and submitted it as my own. 4. I did not allow and will not allow anyone to copy my work with the intention of presenting it as his or her own work. -
Pastiche in Paul Auster's the New York Trilogy
qw Advances in Language and Literary Studies ISSN: 2203-4714 Vol. 7 No. 5; October 2016 Australian International Academic Centre, Australia Flourishing Creativity & Literacy Pastiche in Paul Auster’s The New York Trilogy Maedeh Zare’e (Corresponding author) Islamic Azad University, Tehran Central Branch, Iran E-mail: [email protected] Razieh Eslamieh Islamic Azad University, Parand Branch, Iran Doi:10.7575/aiac.alls.v.7n.5p.197 Received: 17/06/2016 URL: http://dx.doi.org/10.7575/aiac.alls.v.7n.5p.197 Accepted: 28/08/2016 Abstract This article is a Jamesonian study of Auster’s The New York Trilogy in which one of Fredric Jameson’s notions of postmodernism, pastiche, has been applied on three stories of the novel. This novel is one of Auster’s outstanding postmodern works to which Jameson’s theories of postmodernism, in particular, pastiche can be applicable. Pastiche has been defined by Fredric Jameson as an imitation of a strange style and contrasted to the concept of postmodern parody. This article indicates that theory of pastiche can be applied on both the form and content of three stories of the above mentioned novel. Keywords: Pastiche, Parody, Depthlessness, Historicity 1. Introduction Paul Benjamin Auster (1947) is one of the most influential American postmodern authors, whose works mostly mix realism, experimentation, sociology, absurdism, existentialism and crime fiction. Pastiche, intertextuality, aesthetic dignity and Auster’s own appearance in his works, such as City of Glass (1985), are also some of the features of his works. The search for identity and self-discovery can be found in his works such as The New York Trilogy (2015)1, Moon Palace (1989), The Music of Chance (1990), The Book of Illusions (2002), and The Brooklyn Follies (2005). -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
Double-Edged Imitation
Double-Edged Imitation Theories and Practices of Pastiche in Literature Sanna Nyqvist University of Helsinki 2010 © Sanna Nyqvist 2010 ISBN 978-952-92-6970-9 Nord Print Oy Helsinki 2010 Acknowledgements Among the great pleasures of bringing a project like this to com- pletion is the opportunity to declare my gratitude to the many people who have made it possible and, moreover, enjoyable and instructive. My supervisor, Professor H.K. Riikonen has accorded me generous academic freedom, as well as unfailing support when- ever I have needed it. His belief in the merits of this book has been a source of inspiration and motivation. Professor Steven Connor and Professor Suzanne Keen were as thorough and care- ful pre-examiners as I could wish for and I am very grateful for their suggestions and advice. I have been privileged to conduct my work for four years in the Finnish Graduate School of Literary Studies under the direc- torship of Professor Bo Pettersson. He and the Graduate School’s Post-Doctoral Researcher Harri Veivo not only offered insightful and careful comments on my papers, but equally importantly cre- ated a friendly and encouraging atmosphere in the Graduate School seminars. I thank my fellow post-graduate students – Dr. Juuso Aarnio, Dr. Ulrika Gustafsson, Dr. Mari Hatavara, Dr. Saija Isomaa, Mikko Kallionsivu, Toni Lahtinen, Hanna Meretoja, Dr. Outi Oja, Dr. Merja Polvinen, Dr. Riikka Rossi, Dr. Hanna Ruutu, Juho-Antti Tuhkanen and Jussi Willman – for their feed- back and collegial support. The rush to meet the seminar deadline was always amply compensated by the discussions in the seminar itself, and afterwards over a glass of wine. -
Translating Intertextuality As Intercultural Communication a Case Study" (2018)
CORE Metadata, citation and similar papers at core.ac.uk Provided by The Open Repository @Binghamton (The ORB) Binghamton University The Open Repository @ Binghamton (The ORB) Graduate Dissertations and Theses Dissertations, Theses and Capstones 8-2018 TRANSLATING INTERTEXTUALITY AS INTERCULTURAL OMMUNICC ATION A CASE STUDY Bassam M. Al Saideen Binghamton University--SUNY, [email protected] Follow this and additional works at: https://orb.binghamton.edu/dissertation_and_theses Recommended Citation Al Saideen, Bassam M., "TRANSLATING INTERTEXTUALITY AS INTERCULTURAL COMMUNICATION A CASE STUDY" (2018). Graduate Dissertations and Theses. 85. https://orb.binghamton.edu/dissertation_and_theses/85 This Dissertation is brought to you for free and open access by the Dissertations, Theses and Capstones at The Open Repository @ Binghamton (The ORB). It has been accepted for inclusion in Graduate Dissertations and Theses by an authorized administrator of The Open Repository @ Binghamton (The ORB). For more information, please contact [email protected]. TRANSLATING INTERTEXTUALITY AS INTERCULTURAL COMMUNICATION A CASE STUDY BY BASSAM M AL SAIDEEN BA, Yarmouk University, 1990 MA, Yarmouk University, 1997 DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Translation Studies in the Graduate School of Binghamton University State University of New York 2018 © Copyright by Bassam Al Saideen 2018 All Rights Reserved Accepted in partial fulfillment of the requirements for the degree of Doctor -
Artifact, Assemblage, and the Composite Work
Wallace 1 Samantha Wallace RBS-UVA Fellowship Program April 14, 2017 Artifact, Assemblage, and the Composite Work What constitutes due diligence in today’s scholarship? As scholars, we inhabit a culture of many ‘isms’—New Formalism, New Materialism, New Historicism, etc—but we are often divided by these ‘isms.’ Adherents to a particular methodology tend to vote along party lines, that is, we tend to reinforce the methodologies we adhere to by establishing standards of success based on the methods of our inquiry, justifying that methodology through the very outcomes of our analysis. As a result, we tend to be less aware of, or at least less forthcoming, about method, bracketing off other disciplines and methodologies in the process as not useful or relevant to our own inquiry. The continuous disjunction between “theory” and bibliography in institutions of higher education is a testament to our strong party allegiances. To my mind, this not only isolates us as scholars along lines of method, discouraging collaboration. It also risks reinforcing sclerotic distinctions between methods, making us vulnerable to overlooking innovations and insights available to us from other methodologies, and ultimately foreclosing our relevance to other fields within the wider range of disciplines in the academy and beyond. Thus, this essay is, fundamentally, an experiment. I see it as an attempt to synthesize several methods without eliding their differences—an attempt at crosshatching several methods, which mutually reinforce and challenge each other, to inquire into three, often distinct, strata: the material, the theoretical, and the formal of a single work. If this experiment is successful, it will have done so by being inter-methodological. -
Introduction to the Paratext Author(S): Gérard Genette and Marie Maclean Source: New Literary History, Vol
Introduction to the Paratext Author(s): Gérard Genette and Marie Maclean Source: New Literary History, Vol. 22, No. 2, Probings: Art, Criticism, Genre (Spring, 1991), pp. 261-272 Published by: The Johns Hopkins University Press Stable URL: https://www.jstor.org/stable/469037 Accessed: 11-01-2019 17:12 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to New Literary History This content downloaded from 128.227.202.135 on Fri, 11 Jan 2019 17:12:58 UTC All use subject to https://about.jstor.org/terms Introduction to the Paratext* Gerard Genette HE LITERARY WORK consists, exhaustively or essentially, of a text, that is to say (a very minimal definition) in a more or less lengthy sequence of verbal utterances more or less con- taining meaning. But this text rarely appears in its naked state, without the reinforcement and accompaniment of a certain number of productions, themselves verbal or not, like an author's name, a title, a preface, illustrations. One does not always know if one should consider that they belong to the text or not, but in any case they surround it and prolong it, precisely in order to present it, in the usual sense of this verb, but also in its strongest meaning: to make it present, to assure its presence in the world, its "reception" and its consumption, in the form, nowadays at least, of a book. -
Rethinking Mimesis
Rethinking Mimesis Rethinking Mimesis: Concepts and Practices of Literary Representation Edited by Saija Isomaa, Sari Kivistö, Pirjo Lyytikäinen, Sanna Nyqvist, Merja Polvinen and Riikka Rossi Rethinking Mimesis: Concepts and Practices of Literary Representation, Edited by Saija Isomaa, Sari Kivistö, Pirjo Lyytikäinen, Sanna Nyqvist, Merja Polvinen and Riikka Rossi Layout: Jari Käkelä This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Saija Isomaa, Sari Kivistö, Pirjo Lyytikäinen, Sanna Nyqvist, Merja Polvinen and Riikka Rossi and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3901-9, ISBN (13): 978-1-4438-3901-3 Table of ConTenTs Introduction: Rethinking Mimesis The Editors...........................................................................................vii I Concepts of Mimesis Aristotelian Mimesis between Theory and Practice Stephen Halliwell....................................................................................3 Rethinking Aristotle’s poiêtikê technê Humberto Brito.....................................................................................25 Paul Ricœur and -
The Media Assemblage: the Twentieth-Century Novel in Dialogue with Film, Television, and New Media
THE MEDIA ASSEMBLAGE: THE TWENTIETH-CENTURY NOVEL IN DIALOGUE WITH FILM, TELEVISION, AND NEW MEDIA BY PAUL STEWART HACKMAN DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Robert Markley Associate Professor Jim Hansen Associate Professor Ramona Curry ABSTRACT At several moments during the twentieth-century, novelists have been made acutely aware of the novel as a medium due to declarations of the death of the novel. Novelists, at these moments, have found it necessary to define what differentiates the novel from other media and what makes the novel a viable form of art and communication in the age of images. At the same time, writers have expanded the novel form by borrowing conventions from these newer media. I describe this process of differentiation and interaction between the novel and other media as a “media assemblage” and argue that our understanding of the development of the novel in the twentieth century is incomplete if we isolate literature from the other media forms that compete with and influence it. The concept of an assemblage describes a historical situation in which two or more autonomous fields interact and influence one another. On the one hand, an assemblage is composed of physical objects such as TV sets, film cameras, personal computers, and publishing companies, while, on the other hand, it contains enunciations about those objects such as claims about the artistic merit of television, beliefs about the typical audience of a Hollywood blockbuster, or academic discussions about canonicity. -
Narrative Time and Mental Space in the Graduate, Catch-22, and Carnal Knowledge
Montclair State University Montclair State University Digital Commons Theses, Dissertations and Culminating Projects 8-2020 Architecture of the Mind : Narrative Time and Mental Space in The Graduate, Catch-22, and Carnal Knowledge Monica Cecilia Winston Follow this and additional works at: https://digitalcommons.montclair.edu/etd Part of the English Language and Literature Commons ABSTRACT This thesis explores three of director Mike Nichols’s films produced during the New Hollywood period—The Graduate (1967), Catch-22 (1970), and Carnal Knowledge (1971)—in an effort to trace Nichols’s auteur signature as it relates to the depiction of the protagonist’s subjectivity and renders post-war male anxiety and existential dread. In addition to discussing formal film technique used to depict the mental space of the protagonist, how these subjective sequences are implemented in the film bears implications on the narrative form and situates Nichols alongside other New Hollywood directors who were influenced by art cinema. This analysis, like those posited by other critics influenced by film theorist David Bordwell, distinguishes the term “art cinema” as employing a range of techniques outside of continuity editing that are read as stylistic, and because of this it entails specific modes of viewership in order to find meaning in style. Because of the function of style, the thesis posits thematic kinship among The Graduate, Catch-22, and Carnal Knowledge, which enriches the film’s respective meanings when viewed side by side. MONTCLAIR STATE UNIVERSITY Architecture of the Mind: Narrative Time and Mental Space in The Graduate, Catch-22, and Carnal Knowledge by Monica Cecilia Winston A Master’s Thesis Submitted to the Faculty of Montclair State University In Partial Fulfillment of the Requirements For the Degree of Master of Arts August 2020 College: College of Humanities and Social Sciences Department: English Dr. -
Reading As Assemblage: Intensive Reading Practices Of
READING AS ASSEMBLAGE: INTENSIVE READING PRACTICES OF ACADEMICS by SHARON MURPHY AUGUSTINE (Under the Direction of Elizabeth Adams St. Pierre) ABSTRACT This interview study investigated academic readers‘ reading practices using Deleuze and Guattari‘s concept assemblage to produce language and images of reading that recognized the complex relations among texts, people, places, ideas, and memories. The following two questions propelled inquiry and analysis: 1) How do reading practices function as a force that assembles complex relations of texts, people, places, ideas, and memories in surprising and productive ways? 2) What alternative reading practices are possible by theorizing reading through these relationships? This inquiry specifically chronicled how the participants in this study used books to do things. Reading was not, therefore, a solitary, passive endeavor, but an active, social engagement in creating their worlds. The production of a list of prescriptive reading practices that others could duplicate was not the goal. Rather, Deleuze and Guattari‘s (1980/1987) assemblage aligned within larger conversations among new criticism, reader response, and socio- cultural theories of reading. Specifically, Sumara‘s (1996) theory of reading worked with the theories of Deleuze and Guattari to describe a wider variety of reading practices than are commonly found in school settings. Participants provided language to describe intensive reading, reading practices that altered subjectivity, and descriptions of surprising reading experiences. Deleuze and Guattari‘s concepts and participants‘ experiences produced descriptions of reading as an active, surprising, and productive practice. INDEX WORDS: Education, Reading, Deleuze, Guattari, Sumara, assemblage, order-words, incorporeal transformation, commonplace location, flow experience, adult literacy, lifelong literacy, school, qualitative interview research, Writing as a method of inquiry, data analysis, coding, reading practices, poststructural theory.