Autor: Handley, Agata - Prolib Integro

Skocz do pozycji: 1.

Tytuł:: “But what a place / to put a piano”: Nostalgic Objects in Robert Minhinnick’s "Diary of the Last Man"
Autorzy:: Handley, Agata
Tematy:: Robert Minhinnick
Welsh poetry
memory studies
ecology; Pokaż więcej
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Powiązania:: https://bibliotekanauki.pl/articles/641445.pdf Link otwiera się w nowym oknie
Opis:: In 2003, Martin Rees referred to the present as “mankind’s final century.” A few years later, Slavoj Žižek wrote that humankind is heading towards “apocalyptic zero-point,” when the ecological crisis will most probably lead to our complete destruction. In his 2017 collection, Diary of the Last Man, Welsh poet Robert Minhinnick offers readers a meditation upon Earth at a liminal moment-on the brink of becoming completely unpopulated. Imagining a solitary human being, living in the midst of environmental collapse, Minhinnick yet entwines different voices-human and non-human-operating across vast spans of time. The speaker of the poems moves freely through different geographies and cultural contexts, but the voice that starts and ends the journey, seems to be the voice of the poet himself: he is the last man on earth, a survivor of ecological disaster. The paper discusses Minhinnick’s collection as a projection of the world we now inhabit into a future where it will exist only in the form of nostalgic memories. The analysis focuses on the role of objects in the construction of the world-within-the poem, where the fragments of human civilization are being claimed by forces of the environment-engulfing sand, progressive erosion-forming a retrospective vision of our “now” which will inevitably become our “past.”
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: On (Not) Being Milton: Tony Harrison’s Liminal Voice
Autorzy:: Handley, Agata G.
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Powiązania:: https://bibliotekanauki.pl/articles/641698.pdf Link otwiera się w nowym oknie
Opis:: Tony Harrison’s poetry is rooted in the experience of a man who came out of the working class of Leeds and who, avowedly, became a poet and a stranger to his own community. As Harrison duly noted in one interview, from the moment he began his formal education at Leeds Grammar School, he has never felt fully at home in either the world of literature or the world of his working class background, preferring to continually transgress their boundaries and be subject to perpetual change. The paper examines the relation between poetic identity, whose ongoing construction remains one of the most persistently reoccurring themes of Harrison’s work, and the liminal position occupied by the speaker of Harrison’s verse. In the context of the sociological thought of such scholars as Zygmunt Bauman and Stuart Hall, the following paper discusses the way in which the idea of being in-between operates in “On Not Being Milton,” an initial poem from Harrison’s widely acclaimed sonnet sequence The School of Eloquence, whose unique character stems partly from the fact that it constitutes an ongoing poetic project which has continued from 1978 onwards, reflecting the social and cultural changes of contemporary Britain.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: “Being Human”: Edward Bond’s Theories of Drama
Autorzy:: Allen, David
Handley, Agata
Tematy:: Edward Bond
Jung
Holocaust
child development; Pokaż więcej
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Powiązania:: https://bibliotekanauki.pl/articles/641689.pdf Link otwiera się w nowym oknie
Opis:: The playwright Edward Bond has recalled the impact of seeing photographs of Nazi atrocities at the end of World War Two: “It was the ground zero of the human soul.” He argues we need a different kind of drama, based in “a new interpretation of what it means to be human.” He has developed an extensive body of theoretical writings to set alongside his plays. Arguably, his own reflections on “what it means to be human” are based in his reaction to the Holocaust, and his attempt to confront “the totality of evil.”Bond argues we are born “radically innocent.” There is a “pre-psychological” state of being. The neonate does not “read” ideology; it has to use its own imagination to make sense of the world. To enter society, however, the child must be corrupted; its imagination is “ideologized.” Bond claims that “radical innocence” can never wholly be lost. Through drama, we can escape “ideology” and recover our “autonomy.” It leads us to confront extreme situations, and to define for ourselves “what it means to be human.” The terms of Bond’s theory are Manichean (innocent-corrupt, autonomous-ideologized etc.). His arguments are based in the assumption that there is a fundamental “humanity” that exists prior to socialization. In fact, the process of socialization begins at birth. As an account of child development, “radical innocence” does not stand up to close scrutiny. Arguably, however, Bond’s work escapes the confines of his own theory. It can be read, not in terms of the “ideologized” vs. the “autonomous” mind, but rather, in terms of “conscious” and “unconscious.” In Coffee (2000), Bond takes character of Nold on a journey into the Dantean hell of his own unconscious. He does not recover his “innocence,” but, rather, he has to face the darkness of both history and the psyche.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: “The Most Photographed Barn in America”: Simulacra of the Sublime in American Art and Photography
Autorzy:: Allen, David
Handley, Agata
Tematy:: simulacrum
sublime
DeLillo
Baudrillard
Plato; Pokaż więcej
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Powiązania:: https://bibliotekanauki.pl/articles/641498.pdf Link otwiera się w nowym oknie
Opis:: In White Noise (1985) by Don DeLillo, two characters visit a famous barn, described as the “most photographed barn in America” alongside hordes of picture-taking tourists. One of them complains the barn has become a simulacrum, so that “no one sees” the actual barn anymore. This implies that there was once a real barn, which has been lost in the “virtual” image. This is in line with Plato’s concept of the simulacrum as a false or “corrupt” copy, which has lost all connection with the “original.” Plotinus, however, offered a different definition: the simulacrum distorts reality in order to reveal the invisible, the Ideal. There is a real building which has been called “the most photographed barn in America”: the Thomas Moulton Barn in the Grand Teton National Park. The location-barn in the foreground, mountain range towering over it-forms a striking visual composition. But the site is not only famous because it is photogenic. Images of the barn in part evoke the heroic struggles of pioneers living on the frontier. They also draw on the tradition of the “American sublime.” Ralph Waldo Emerson defined the sublime as “the influx of the Divine mind into our mind.” He followed Plotinus in valuing art as a means of “revelation”-with the artist as a kind of prophet or “seer.” The photographers who collect at the Moulton Barn are themselves consciously working within this tradition, and turning themselves into do-it-yourself “artist-seers.” They are the creators, not the slaves of the simulacrum.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 5.

Tytuł:: The Woman Artist: Essays in memory of Dorota Filipczak
Współwytwórcy:: Fisiak, Tomasz Red.
Majer, Krzysztof Red.
Handley, Agata Red.
Dobrogoszcz, Tomasz Red.
Tematy:: Publikacje darmowe; Pokaż więcej
Wydawca:: Łódź : Wydawnictwo Uniwersytetu Łódzkiego
Dostawca treści:: IBUK Libra

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