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[…]casebook on Lynne Tillman’s American Genius, A Comedy here bridges her early investigations into skin as a test of feminist theories about discursive materiality and her current research on im/migration, sexuality, and the […]
[…]and Shape Ourselves, published by Palgrave in October 2014 and available both in print and as a free download. Jill has kept a research blog at jilltxt.net for almost 15 years and is @jilltxt on Twitter. She is also the author of Blogging (Polity Press, 2008, 2nd ed 2014) and co-editor of a scholarly anthology of articles on World of Warcraft (MIT Press […]
[…]intentional? Or maybe it’s so implied that I’m behind the curve here – but either way, “to search or not to search, will that be an option?” end construction The “logical outgrowth of the environment” Anne speaks of, one that pushes us further and further away from the print paradigm no matter how attached we (pivotal figures) are to it (it is, after all, where we come from), is, to my mind, totally consistent with the way the entire Alt-X site, as web phenomenon, has been developing. The ebr community is a dynamic database of knowledge and experience, one that […]
[…]announcement of artifice by several powers by peppering Fast Eddie with scores of loud allusions to and pickpocketings from myriad other literary and paraliterary texts. At one time or another, by way of brief illustration, he waves over the head of his orphaned protagonist: The Odyssey, Oedipus Rex, Don Quixote, Huck Finn, several Dickens novels, The Time Machine, Lolita, Bradbury’s “All Summer in a Day,” lyrics by The Doors and various other rock’n’roll groups, Gurney Norman’s Divine Right’s Trip, John Barth’s diverse use and abuse of mythological narratives, Russell Hoban’s Riddley Walker, and a healthy portion of Robert Coover’s work. […]
[…]The text is divided into four journeys: “South: The Comets in the Yard”; “East: Wind, Sand and Stars”; “North: The Night of the Bear”; and “West: The Journey Out.” Navigational aids (a compass, a solar table, and the star maps) are provided so that readers can explore the four directions and join the protagonists in the quest for the Califia treasure. The modern and the technological thus exist alongside the traditional and the ancient. The three narrators, Augusta, Kaye, and Calvin, provide different perspectives on stories that encompass multiple generations. Augusta narrates the present events in chronological succession, Kaye relates […]
[…]only such technology that could do the job. Similar results could be achieved without a runoff – for example, by allowing minority party candidates to transfer their vote totals to a top contender, providing they have announced their intentions before the election. There is also a proposal for a system of instant runoff voting (I.R.V.) in which the voter ranks his or her preferences on the ballot. If no winner emerges after all the first place votes are counted, then the second choices are tallied up until a candidate obtains a majority. The point is not to make a fetish […]
[…]Feng Shui – ancient but also again popular in the 1990s – can criticize Mason and Dixon’s Visto for its evil placement (“Terrible Feng Shui here. Worst I ever saw. You two crazy?” [542]), the anachronistic intrusion of one world into another (another incarnation of Arrabal’s “magic”?) induces the suspicion that the twentieth-century already existed in the eighteenth, that the postmodern world of Starbuck’s, Feng Shui, and the remnants of a slave culture in the US is very little removed from its roots in the eighteenth century. As anachronism unites the histories and mythologies of eighteenth and twentieth centuries, it […]
[…]Haraway reminds us that all writing and intellectual work is also fragmentary, flourishing in webs and comprised of conversations and connections (vii). Dancing with shadows. Trusting Outsiders. That’s how Joyce describes his experience of network culture. With so many competing forces, who can any of us trust? Not concerned with migratory text/s, this book is a literary journey, a journey literally. An intimate introduction steps into the preface, the personal recollection of an Irish-American boy gazing through a screen door. That door, the inbetween, like a computer screen, the hyphen of inside-out, outside-in. For Sandy Stone, the virtual community is […]
[…]sigh — so sue! Sose soh — su sue! Saws ease, I sew sou saegs leicht, Ich naeh zou Tati! Tie toe to… Tatti! Zei zeh zu… Ugh! Uni uno una un Ugh! Uni uno una ein Voila! Voix là: void vidi Voila! Stimme da: wo id geh seen Wha –? We? Why? Woe! Woo Wha –? Wi? wieso? weh! wuu Xuck — seeks eye — XO XU Xack — such aug — Xo Xu You yid yup yup yoo You jid yap yap yuu Zazie’s eyes: Ozu Zazie´s Augen: Ozu Zazeez, I zo! (Zoo)! Zazees´s Ich zo! […]
[…]children of visitors without disturbing the patients – that is, to perform in silence. Cage had to come up with new ways of performing for an audience without creating sound – twelve years before he wrote 4’33 “. In the 1950’s, Cage taught Experimental Music at the New School for Social Research in New York City (attracting George Brecht, Allan Kaprow, and Al Hansen) and at the famous Black Mountain College in North Carolina (with Merce Cunningham, Robert Motherwell, and Robert Rauschenberg). Although Cage did not require his students to have a musical background, he did encourage performance and experimentation. […]