...Africa through Theatre This paper sets out to explore how processes of theatre making employed by The Mothertongue project, provide spaces for women to remap their personal narratives. Mothertongue works from the premise that the development and subsequent performance of stories in theatrical processes affords women the opportunity to re-write and remap their personal narratives and in so doing insert their voices into the landscape of South African Theatre. In an attempt to redress the gender imbalances and androcentricism prevalent in post-apartheid theatre, this paper speaks to the relationship between theatre, liminality and communitas. I am interested in unpacking how collaborative processes of theatre-making provide spaces for women to remap their personal narratives. Remapping in this instance refers to processes of transforming lived experience through story. I address how, through engaging in ritual activities that are central to the stories performed, actors, audiences and the owners of the source stories are invited to physically participate in remapping and transforming lived experience. Linked to this is the choice of form(s) and how this affects or impacts on the performed stories as well as on the construction of performed rituals and ultimately on the processes of remapping personal narratives. I focus specifically on Mothertongue’s 2004 production, Uhambo: pieces of a dream. The production was an integration of theatre and visual art in the form of performances...
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...because these factors contribute and influence an author’s point of view as well as each author’s unique voice and message depending on the time period. Harriet A. Jacobs’s Incidents in the Life of a Slave Girl, is a slave narrative. The literary conventions of the slave narrative define the work. Slave narratives echo biblical stories that often reflect persecuted groups attempting to escape to freedom. Jacobs’s piece details her struggle to escape her master from sexual abuse. Vivanco (2003), “The process from sin to rebirth in spiritual autobiographies is paralleled by the process from slavery to freedom in slave narratives. Slaves experience a change from chattel, enduring suffering, to man or woman living in the Promised Land, the North,” (para. 5). Further distinction of the slave narrative is how authors shape the story, often chronologically. Slave narratives illustrate an author’s personal experience though many share common themes of extreme violence/abuse and racial prejudice. Slave narratives are essentially autobiography, which offer an author’s own experience for readers to find meaning. Jacobs’s female voice sheds light on issues affecting slave women; sexual abuse and losing children to death or slave trade particularly. Jacobs’s narrative is a prime example of how different slave women were treated as opposed to men. Both...
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...Otherness: Essays and Studies 1.1 October 2010 Haunting Poetry: Trauma, Otherness and Textuality in Michael Cunningham’s Specimen Days Olu Jenzen Early conceptions of trauma are intimately linked not only with modernity but specifically with the height of industrialisation (Micale and Lerner 2001). This is converged in the opening of Specimen Days particularly in the image of an industrial accident at the ironworks where a young man is killed by the stamping machine. His young brother, replacing him at the machine after the funeral, then experiences an apparition of the dead brother still trapped inside the machine, which leads him to believe that all machines house entrapped ghosts of the dead. Writing on the Victorians’ anxieties about internal disruption caused by the advent of the railway, Jill Matus (2001, 415) has pointed out that, Freud himself remarked in Beyond the Pleasure Principle (1920), [that] there is ‘a condition [which] has long been known and described [and] which occurs after severe mechanical concussions, railway disasters and other accidents involving a risk to life; it has been given the name of traumatic neurosis’ (12). Freud’s remark brings to the fore the traumas of the industrial age as both individually and publicly experienced and negotiated. This condition of trauma as private and public, individual yet also societal is held in tension throughout Cunningham’s novel. Reflecting on the otherness of trauma and its vexed relationship to representation...
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...ENG2601 ASSIGNMENT 1 The Forest of Souls “The difficulty of literature is not to write, but to write what you mean.”- Robert Lewis Stevenson This quote sums up my experience in comparing and contrasting the extracts from The Forest of Souls by Carla Banks. In order to truly understand what the writer is trying to say, a combination of language features, language strategies and other components are put together to create a mind-boggling, attention-grabbing novel. A novel that consist of different contexts, different genres and different tone and writing styles combined, letting the reader experience exactly what the writer is trying to say. Extract 1 is an account of the first public hanging that took place in the city of Minsk, Soviet Union under the Nazi occupation. (Mullany, 2010) The men, Kiril Trus and a sixteen year old Volodia Shcerbatsevich were members of a partisan cell organizing anti-fascist resistance. The seventeen year old girl, Masha Bruskina was a nurse who had been caught aiding the partisans. She provided civilian clothes and papers for wounded Red Army soldiers under her care and smuggle them back to the resistance. It is an in depth description of the brutality of this event, with emphasis on the circumstances under which this event took place. Extract 2 is an account, sixty years after this event. A journalist Jake Denbigh is working on the experiences of war-time immigrants during the 2nd World War. (www.carlabanks.uk/forest/) Jake is visiting...
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...Running head: INTRODUCTION TO LITERATURE Final Paper Ashford University Introduction to Literature ENG 125 Submitted: Final Paper Whether reading a short story or a poem, there is always a story to be found within. The authors of these scripts are able to capture readers with the utilization of characterization, rhythm, or a fairytale setting throughout their narrative. It is imagination that sanctions the reader of these literary forms to be able to mentally visualize what the author would like the reader to visually perceive by use of symbolism or descriptive wording. In the poem “The Road Not Taken” or short stories “A Worn Path” or “Used To Live Here Once” – There is a prevalent theme. No matter what solitary journey we find ourselves on, ‘we’ determine how the journey ends. The solitary journey that each of these literary pieces share is presented differently in each inditing. Robert Frost designed “The Road Not Taken” with specific designs in the narrative that revealed for me as the reader that there was a forthcoming journey. Frost also utilized the word “I” many times, which sanctioned me to imagine him alone. Comparative to this example let us compare “A Worn Path” where Welty utilized the word “she” throughout the writing piece. The linguistic choice inspired my imagination to visualize a woman walking alone. This visualization was reinforced in other places of the writing when the character spoke to animals to get out of her way:...
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...Csikszentmihalyi, and Richard Carlson, I identify two types of experience in user–product interactions: satisfying experiences and rich experiences. A satisfying experience is a process–driven act that is performed in a successful manner. A rich experience has a sense of immersive continuity and interaction, which may be made up of a series of satisfying experiences. Based on this definition, I identify a set of design principles with which to create products that evoke rich experiences. These principles are intended to encourage designers to think about how to create user–product interactions that suggest values and communicate meanings that enrich the quality of life. Narrative plays a key role in these design principles. Our series of life experiences form a narrative; the values that designers impart in an object form a narrative which is elaborated...
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...becomes wealthy to win back his love, Daisy Buchanan, who couldn’t be his because of his poverty. While Daisy wants to be with Gatsby, she chooses Tom Buchanan because of Gatsby’s illegal business, despite the fact that Tom was cheating on Daisy by having an affair with Myrtle. In the end, Gatsby takes the blame for killing Myrtle from Daisy, and thus is killed by Myrtle’s husband. In “The Rich Boy”, Anson Hunter loses Paula, someone he dearly loves, because he disgraces himself by getting drunk all the time. However, due to Anson’s arrogance and dominating nature, Paula leaves him and Anson cries “like a child” for three days (Fitzgerald “Rich” 328). Anson loses himself after the end of his affair with Paula, and learns to be happier by moving on in his life. “The Bridal Party” is a comparison of The Great Gatsby and “The Rich Boy”. Michael Curly loses his girlfriend Caroline Dandy due to his poverty. When he finds out about her marriage to the wealthy Hamilton Rutherford, he decides to win her back. However, he fails to do so as Caroline chooses Hamilton over Michael, despite Michael’s newly inherited wealth. Michael seems to go into depression but cures himself as he realizes that he has not thought of Caroline for hours. All three of Fitzgerald’s works focus on the depression one can go into by losing his or her significant other. The plot is essentially the same, with the protagonist, despite giving his all for the relationship, loses the love of his...
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...Summary and Personal Response By cause of unforeseen circumstances, Suki and her family are forced to give up their "fairy tale" life in South Korea. In her essay “Facing Poverty with a Rich Girl’s Habits,” Suki Kim (2011, p. 62) shares some of the struggles of fitting in that she endures after moving to America. Due to the financial collapse of her father’s businesses and the option of bankruptcy being out of the question, Suki and her family are forced to abandon their extravagant life in South Korea. After arriving in America, the family takes up residence in Queens, New York (Kim, 2011, p. 62). Suki’s new home is anything but glamorous. She describes it as “a crammed, ugly place” compared to the “hilltop mansion” where she grew up. For the first time in 13 years, she has to make her way through the day-to-day routines without the aid of the hired help. Aside from being stripped of her pampered lifestyle, Suki is now attempting to knock down the language and cultural barriers that separate her from her peers. In her new school, Suki is enrolled in an English as a Second Language class. With this class comes the opportunity for Suki to converse with fellow students in her native language. However, in the midst of these common bonds is also the obvious distinction of social status (Kim, 2011, p. 63). America is most often looked upon as a melting pot where all are welcome with the expectation of being treated equally. It doesn’t take long for Suki to realize that...
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...Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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...Sheryl Sandberg - Leadership Communication Analysis Written Report Sheryl Sandberg is an American business leader, activist and writer currently serving as the COO of Facebook. After graduating high-school in Miami, Sandberg attended Harvard where she earned a A.B. in economics, followed by an MBA at her alma mater. After graduate school Sandberg worked for a former professor at the Treasury Department, where she became a chief of staff before moving to Google, and finally to Facebook. Sandberg’s first book, Lean In: Women, Work, and the Will to Lead, was published in 2013. A feminist call for increased female leadership in the workplace, the book was received with broad critical acclaim. Throughout Lean In, Sandberg synthesizes academic studies and her own professional experiences to encourage women to strive for leadership positions in the workplace. Through her book, speeches, and other writing, Sandberg weaves several leadership communication approaches into her overall communication style, including meaning maker, storyteller, and direction setter. Meaning Maker In her book and speeches Sandberg discusses the common experience of women in the workplace, describing a shared stake in the future as members of that group. She frequently uses terms like “we” and “our” when discussing female experiences and opportunities at work. Her language and point of view communicates supportiveness to both genders, articulating the shared goal of equality at work and at home...
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...University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2010 Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context Leah Rang University of Tennessee - Knoxville, lrang@utk.edu Recommended Citation Rang, Leah, "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context. " Master's Thesis, University of Tennessee, 2010. http://trace.tennessee.edu/utk_gradthes/655 This Thesis is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact trace@utk.edu. To the Graduate Council: I am submitting herewith a thesis written by Leah Rang entitled "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Urmila Seshagiri, Major Professor We have read this thesis and recommend its acceptance: Lisi Schoenbach, Bill Hardwig Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official student records.) To the Graduate Council:...
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...STUDIES IN PROFESSIONAL LIFE AND WORK Mike Hayler University of Brighton, UK Autoethnography, Self-Narrative and Teacher Education examines the professional life and work of teacher educators. In adopting an autoethnographic and life-history approach, Mike Hayler develops a theoretically informed discussion of how the professional identity of teacher educators is both formed and represented by narratives of experience. The book draws upon analytic autoethnography and life-history methods to explore the ways in which teacher educators construct and develop their conceptions and practice by engaging with memory through narrative, in order to negotiate some of the ambivalences and uncertainties of their work. The author’s own story of learning, embedded within the text, was shared with other teacher-educators, who following interviews wrote self-narratives around themes which emerged from discussion. The focus for analysis develops from how professional identity and pedagogy are influenced by changing perceptions and self-narratives of life and work experiences, and how this may influence professional culture, content and practice in this area. Autoethnography, Self-Narrative and Teacher Education Autoethnography, Self-Narrative and Teacher Education STUDIES IN PROFESSIONAL LIFE AND WORK The book includes an evaluation of how using this approach has allowed the author to investigate both the subject and method of the research with implications for ...
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...Lower East Side Memories : A Jewish Place in America By HASIA R. DINER The Lower East Side and American Jewish Memory I'm Jewish because love my family matzoh ball soup. I'm Jewish because my fathers mothers uncles grandmothers said "Jewish," all the way back to Vitebsk & Kaminetz-Podolska via Lvov. Jewish because reading Dostoyevsky at 13 I write poems at restaurant tables Lower East Side, perfect delicatessen intellectual. —Allen Ginsberg, "Yiddishe Kopf" The poet Allen Ginsberg, born and raised in Newark, New Jersey, returned in his later years to a narrative style of expression, shifting gears from the anger and fire of his early career. In this poem from 1991 he also touched down again, after a long hiatus spent exploring Buddhism and Eastern philosophy, upon some Jewish themes, as a way of remembering the world of his youth. He described that world in one poem, "Yiddishe Kopf," literally, a Jewish head, but more broadly, a highly distinctive Jewish way of thinking, based on insight, cleverness, and finesse. That world for him stood upon two zones of remembrance. The world of eastern Europe, of Vitebsk, Lvov, and Kamenets-Podolski gave him one anchor for his Jewishness. Thai space of memory gave him a focus for continuity and inherited identity, tied down by the weight of the past, by family in particular. The other, the Lower East Side, nurtured and...
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...[Indiana University Libraries] Date: 24 February 2016, At: 16:43 Journal of Postcolonial Writing Vol. 46, No. 1, February 2010, 65–75 “He does not understand our customs”: Narrating orality and empire in Chinua Achebe’s Things Fall Apart Jarica Linn Watts* University of Utah, Salt Lake City, USA Downloaded by [Indiana University Libraries] at 16:43 24 February 2016 jarica.watts@utah.edu Jarica 0 100000February 46 2010 &Article OriginalofFrancis 1744-9855 (print)/1744-9863 JournalandPostcolonial 10.1080/17449850903478189(online) RJPW_A_448194.sgm TaylorLinnWatts 2010 Writing Francis This article delineates different strains of Achebe’s narrative technique in Things Fall Apart, arguing that earlier critics have failed to account fully for two fundamental principles in Achebe’s narrative: the myriad phrases that are repeated throughout the first part of the work; and the formative shift, the poetic volta, that takes place between parts one and two of the novel. Drawing on Achebe’s assertion that “anyone seeking an...
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...novels essays stories interviews connect The Reluctant Fundamentalist Published in 2007 in these languages. Became an international bestseller with over a million copies in print. Was adapted for the cinema. Awards Won the Ambassador Book Award, Anisfield-Wolf Book Award, Asian American Literary Award, Premio Speciale Dal Testo Allo Schermo, and South Bank Show Award for Literature. Was shortlisted for the Man Booker Prize, International IMPAC Dublin Literary Award, James Tait Black Memorial Prize, Commonwealth Writers Prize, Arts Council England Decibel Award, Australia-Asia Literary Award, and Index on Censorship T R Fyvel Award. Was named a Book of the Decade by the Guardian and a Notable Book of the Year by the New York Times. Reviews 'An artist of fantastic cunning... demonstrates what certain trumped-up laureates of post-modernity seem incapable of grasping: that it is possible to simultaneously address the byzantine monstrosity of contemporary existence and care about the destiny of one's characters... [a] resounding success... not unworthy of Nabokov.' -- The Village Voice (full review) 'Taut and accomplished... Changez's story, which seems to gush from him like blood from a wound, traces the self's shifting sense of itself against the rumblings of a rudely shaken world... Dostoyevskian.' -- San Francisco Chronicle (full review) 'Changez's voice is extraordinary. Cultivated, restrained, yet also barbed and passionate, it evokes the power...
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