Texts Of Writers Research Articles

States of Recollection: How Seventeenth-Century Women Thought about Recovery and the Atlantic World

Tn Muse: Gender, Rationality, and Marketing of Knowledge, .1Stephanie Jed asks important questions about practices and institutions of European discovery at moment when museums and curio cabinets were proliferating as depositories for New artifacts and wonders, but she also asks important questions about recovery. In urging us to think about how works of America's Tenth Muses--Sor Juana Ines de la Cruz and Anne Bradstreet--circulated transatlantically, she also urges us to suspend for a moment our own marveling at genius and resilience of these early American women poets and look more closely at roots of that wonder. At end of her essay, Jed imagines a seventeenth-century history' of literature from 'New World (206). Here she likens collecting of Muses to Gonzalo Fernandez de Oviedo's description in his Historia general y natural de las Indias of iguana that be shipped in a barrel of earth to chancellor of Signoria in Venice in order to find out if it ate dirt. (Apparently it did not.) Jed implies that works of extraordinary women in Americas likewise circulated as objects of inquiry, deracinated and apt to dry out and die in their new archival homes. In order to breathe new life into these texts, productively to engage, as she puts it, in the feminist project of producing new forms of relations and knowing, she urges us to recognize power relations structuring 'f-acts attributed to these texts and extending to present-day endeavors like Norton Anthology of Literature by Women (208). Jed's argument that Muse should be understood as a taxonomic category was groundbreaking, though it also risked overemphasizing powerlessness of women writers once their writings enter world. Texts are not iguanas, and writers of texts, even colonial dames and nuns, are engaging discourses and power structures within which their texts circulated in a way that poor iguana cannot, even if it were far more vicious than Oviedo reports. But what if we take Jed's fiction of a 'natural history' of literature from 'New World as a challenge and explore how women in seventeenth century can be understood to engage in corollaries to modern recovery projects? Women reported on New World, helped shape emerging scientific discourses, and understood themselves as agents within both commercial and religious global enterprises. Sometimes they reported on other women, and often they represented these women as unknown or forgotten. By examining how seventeenth-century women practiced recovery--that is, by considering efforts of women that came long before far more familiar post-Enlightenment endeavors of nineteenth-century women we are more apt to see as our scholarly precursors--we see how they not only participated in hermeneutical practices similar to our own but also helped to shape development of these hermeneutics. We gain a better critical perspective on their activities while bringing into focus some of colonial and imperial roots of our own discoveries and recoveries. The spiritual diary of Ursula de Jesus, an Afro-Peruvian mystic, in many ways exemplifies seventeenth-century recovery. Enslaved until age of forty, Ursula took vows as a donada, a convent servant, about a year after her manumission. She was already well known for her visions and had amanuenses assigned to record her diary; they occasionally offered asides in which they confessed, whether with humility or exasperation it is hard to say, their failures in recording all that Ursula said. In 2004, Nancy van Deusen produced an English edition with ample apparatus aimed at classroom use. For this recovery project she both transcribed neglected manuscripts from Convent of Santa Clara in Lima and translated and contextualized them for an English-speaking audience. (1) Ursula is therefore subject of recovery, and for those of us who collect early American women she is quite a find. …

Лингвистический подход к определению суицида

Suicide is a major, preventable public health problem. Particularly the problem is critical for young people. In Russia every year thousands of teenagers commit suicide. In most of the cases it can be prevented if a risky state is detected. Nowadays internet becomes a major way of communication, mainly in the text form. Therefore we suggest a method to detect a tendency to suicide based on text messages. Our main approach is to study indicators of such condition and based on it use machine learning approach to build a classifier that could determine, whether the person is about to commit a suicide. Our experiments are based on the analysis of texts of Russian writers for past 100 years that committed suicide.

ضوابط وحدود حضور الصورة في ضوء التصور الإسلامي لأدب الأطفال

Constraintsand limits of the presence of pictures in the light of the Islamic perception of children's literature
 The picture or the drawings accompanying the narrative text occupy an important place in the complete process of literary and artistic creativity for children, as it contributes greatly to enhancing the child's visual sense and expanding his imagination and perceptions, especially in the stage prior to his learning to read. From here, most of the writers of the narrative text, through these drawings and pictures, send an indirect invitation to the child through which he tempts his inclinations and draws his attention to reading the narrative text and enjoying it. This is the case because the first thing that attracts the child in any literary work or book are the bright and charming drawings and colors. Writers specializing in children's literature, including drawings and pictures, are a suggestive language that carries in its forms and colors moral, educational, national and religious messages. It is facilitated by the presence of the ideas and meanings of the child. In view of the position occupied by the image in children’s literature, it was necessary to take into account in its presence a set of criteria and standards, in order to be acceptable and convincing, and in agreement with the nature of the target group (children). In accordance with its cultural and religious specificities, the call of the pioneers of Islamic children’s literature to the need to adhere to the principles of Islam and its teachings in stories directed to children. As a basis for building the child’s entity mentally, psychologically, and behaviorally, it adopted a set of visions, controls, and rules through which the truth of the picture accompanies the narrative text and its characteristics in the light of the Islamic conception.

An evaluation of grades 9 and 10 mathematics textbooks vis-à-vis fostering problem solving skills

This study sought to evaluate the adequacy of integration of problematic situations and general problem-solving strategies (heuristics) in grades 9 and 10 mathematics textbooks. Grade 9 and grade 10 mathematics textbooks were used for analysis. Document analysis and interview were used as data gathering instruments. Document analysis was carried out on the two textbooks using Mathematics Material Analysis Instrument (MMAI) developed by Karen (1997). Interview was held with two experts from Institute of Curriculum Development and Research about the backgrounds of textbook writers. The content analysis result revealed that grades 9 and 10 mathematics textbooks have coded value of 2. This value of (2) implies low level of inclusion of problematic situations and general strategies of problem solving (heuristics). One Sample t-test analysis has also ascertained that the coded values (observed) are significantly less than the expected value. The interview made with experts from ICDR portrayed that textbooks are prepared by subject specialists who were recruited through the bid system. Besides, the interview result indicated that training was not given to the text writers before or during preparation of textbooks. This implies that grades 9 and 10 mathematics textbooks foster more memorization of facts than developing students’ problem solving skills. Based on these results recommendations are forwarded. Key words: Problem-solving, mathematics textbook analysis, heuristics.

Writing Trauma: Affected in the Act

Writing is an affective process. When the writer writes creatively it is ‘the affective response in the word choice and its resonance for the text's forms and patterns, and other words around it, that determine language use’ (Freiman 2009: 5). Yet this resonance does not occur solely within the text, nor even between text and reader. Writing entails not only the expression of affect, but the writer's experience of it. Or, as Elspeth Probyn (2010: 86) puts it, as we write ‘affects can seem to get into our bodies’. Such contagious affect becomes ‘not a representation of the other, but a rendering’ (Gibbs 2010: 193). Not only does the writer create the body of the text, the text changes the writing body – particularly when the writing itself is intensely affective. Drawing on the affect theories of Gilles Deleuze and Silvan Tomkins, this paper theorises these affective relations of writer and traumatic text. What emerges is a theoretical yet visceral account of transformative resonance of affect in the co-constitutive encounter of writing body and body of text.

Väike teatmik (Tartu) paranoiakriitilise risoomi kohta

The paper gives an overview of a network of authors who have been active since the end of the 20th century, mainly (but not only) in Tartu. They can be characterized as having an experimental attitude and maintaining distance from the literary mainstream, but at the same time they do not try to be consciously polemical or novatory, because partly they repeat the techniques of the 20th century avant-garde and, what is maybe more important, they sidestep the dialectics of innovating or altering the literary canon. The network is not strictly organized; it is rather a rhizome that has some denser nodes (literary journals and mailing lists). There have been different attempts to name the phenomenon: Tartu avant-garde, microcosmic literature, cognitive realism, Y-literature, eksp and so on. I have chosen paranoiac-critique as the term that best captures the common characteristics of these authors and their artistic practices (some of the authors are active not only as text writers, but also as conceptual artists). The paper then gives a list, with commentary, of the most important groups and individuals of that movement. In the role of predecessors are the group 14NU (Paavo Matsin, Mait Laas, Marianne Ravi et al.), which also experimented with the format of the book, and a company in Tartu that developed a specific actionist stylistics called mugiv (Marko Kompus, Mehis Heinsaar, Martiini, Kaspar et al.). The sovereign figure in the experimental network is Valdur Mikita, who has also academically researched the problems of creativity; he is also a theoretician and metapoet. An important institution for the network has been the literary journal Vihik (initiator Berk Vaher); the later editor of the journal Jaak Tomberg has also participated in activities of the Tartu Theatre Laboratory (managed by Andreas W), which has experimented with technological theatre. In the middle of the first decade of the 21st century the network has gathered around the mailing list eksp, whose central figure is Erkki Luuk. Kiwa (also known as a conceptual and sound artist), Tanel Rander et al. are also important authors of the network. The poetics of the authors sometimes resembles classical avant-gardism (surrealism and dadaism), sometimes it is connected with ideas of schizoanalysis, and sometimes it is a mixture of absurdism and stylistic play. Beside texts, an important role is played by specific performative events, e. g. the annual International Scientific Conference, which rigidly follows the format of a scientific conference, but the content of the papers extends from pure glossolaly to sophisticated mock-research. The main purpose of the paper is to sketch a map of this peculiar phenomenon in the contemporary Estonian literary field and to create an initial database of works and reception for further analyses.

Pathways of Desire

This paper looks at Shakespeare’s procreation sonnets in an attempt to retrace the pathways that lead to the first appearance of the Sonnets’ lyrical “I” in Sonnet 10. In doing so, it focuses on the narrative evolution of subjectivity in Sonnets 1–9, observing the postures and poetic devices the lyrical “I” adopts to make room for self-reference. Mapping the conventions and contradictions in the span of which the speaking subject attempts to find the voice with which to address his other, the paper highlights the unconventionality of the sonnets, arguing that they can be read, even today, as writerly texts: passionate utterances restored to and questioning the status of amorous poetry.

The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic«

Are screenplays - or at least some screenplays - works of literature? Until relatively recently, very few theorists had addressed this question. Thanks to recent work by scholars such as Ian W. Macdonald, Steven Maras, and Steven Price, theorizing the nature of the screenplay is back on the agenda after years of neglect (albeit with a few important exceptions) by film studies and literary studies (Macdonald 2004; Maras 2009; Price 2010). What has emerged from this work, however, is a general acceptance that the screenplay is ontologically peculiar and, as a result, a divergence of opinion about whether or not it is the kind of thing that can be literature.Specifically, recent discussion about the nature of the screenplay has tended to emphasize its putative lack of ontological autonomy from the film, its supposed inherent incompleteness, or both (Carroll 2008, 68-69; Maras 2009, 48; Price 2010, 38-42). Moreover, these sorts of claims about the screenplay's ontology - its essential nature - are often hitched to broader arguments. According to one such argument, a screenplay's supposed ontological tie to the production of a film is said to vitiate the possibility of it being a work of literature in its own right (Carroll 2008, 68-69; Maras 2009, 48). According to another, the screenplay's tenuous literary status is putatively explained by the idea that it is perpetually unfinished, akin to a Barthesian >> writerly text > Yes > Yes > No > scriptfic > scriptfic > scriptfic > Scriptfics > series > virtual series > airs << in the form of uploaded texts that usually either present an entirely original narrative (original virtual series), continue the storyline of an actual television series that has ended (virtual continuations), or use certain elements of an actual series as jumping-off points to tell an original story (virtual spin-offs).My central argument is that if the goal of theorizing the screenplay is to actually explain the evidence supplied by our practices, then theories that involve ontological claims about the screenplay's putative lack of ontological autonomy from the film and/or inherent incompleteness must be abandoned. I shall argue that virtual series traffic in screenplays that are ontologically autonomous works that have been finished by their authors in just the ways these theories claim they are not. If this is right, it follows that such accounts of the screenplay's ontology do not in fact offer reasons or explanations for denying that screenplays can be literature. This is because ontological claims are claims about the essential features of a given kind - that is, the features that the kind has of necessity.Virtual series screenplays offer strong evidence, I submit, that practitioners determine the boundaries of our screenplay concept, that our screenplay concept has changed over time, that we are now in an historical moment when some screenplays are complete, autonomous works, and that we are also now in an historical moment when some people write screenplays with the intention of creating literature while certain communities of readers appreciate them as such.

Conflict of Laws Through Nigerian Case Law: A Researcher's Critical Comments (Part 1)

Conflict of laws is otherwise called private international law. It is concerned with every state’s response to the special questions that could arise in purely private actions in its courts when there are foreign or extraterritorial elements or dimensions. Such foreign or extraterritorial elements could either relate to the facts or the parties. Text writers have categorised the special questions into three fields, that is, choice of jurisdiction, choice of law, and recognition and/or enforcement of foreign judgements.

The Accreditation of Hildegard von Bingen as Medieval Female Technical Writer

Although scholars have acknowledged technical texts written during the Middle-Ages, there is no mention of “technical writer” as a profession except for Geoffrey Chaucer, and historically absent is the accreditation of medieval female writers who pioneered the field of medical-technical communication. In an era dominated by identifiable medieval male technical writers, this article analyzes the medical texts of Hildegard von Bingen, which should be recognized as significant scientific and medical contributions to the field of medical-technical writing. Because the term “technical writing” or “technical writer” did not exist during the Middle Ages, accrediting female medieval scientific and medical writers as technical writers requires the application of modern thought and definition. Primarily known as a mystic and writer of poetry and music, Hildegard's technological and medical texts have slowly gained interest within the medical community. Her texts Physica and Causae Curae, written in the style of modern-day patient history and physicals, outline patient symptoms, causes and effects, preceded by a treatment plan. This article examines Hildegard von Bingen's medical works, identifying her as a scientific or medical technical writer within the same context from which scholars assign Chaucer the same title, and from which all medical and scientific writers of medical texts can be professionally accredited as technical communicator or writer.

The Role of Slovenian Language in Legal Texts of Town and Market-Town Autonomy until the Spring of Nations of 1848

Up to the 19th century, very little was written in Slovenian language; in the official and business life, the written Slovenian was an exception. This contribution discusses the role of Slovenian language in legal texts of towns and market-towns, namely those few Slovenian environments that through centuries had local self-government with its own elected representatives and judicial administration. Chronologically the contribution is limited to the period up to the Spring of Nations of 1848, after which the conditions for the public use of Slovenian language changed significantly. From the mid-16th century there are only a few dozen known Slovenian official records regarding undertakings of town and market-town autonomies. Among them, there are only a handful of stand-alone documents; and by far the most official oath forms. It is no coincidence that the records from towns and markets emphasizing the Slovenian linguistic image of the population have been preserved, since the bulk of these texts was created in these environments simply because there was a need for them. The vocabulary used is a faithful reflection of the actual terms used in administrative and legal terminology, often adapted German words, and loanwords. The first imperative of the writers of Slovenian official oath texts was their understandability, as they were mainly intended for oral use and wide audiences.&#x0D; &#x0D; Keywords: town autonomy • market-town autonomy • legal texts • Slovenian language • the official language of official functioning • municipality

Composing Selves: Southern Women and Autobiography (review)

Reviewed by: Composing Selves: Southern Women and Autobiography Will Brantley Composing Selves: Southern Women and Autobiography. By Peggy Whitman Prenshaw. Baton Rouge: Louisiana State UP, 2011. x, 331 pp. Peggy Whitman Prenshaw’s Composing Selves: Southern Women and Autobiography is the recipient of the 2011 Jules and Frances Landry Award, presented by Louisiana State University Press to recognize a significant contribution to the field of southern studies. The book, broad in scope and meticulously researched, is more than deserving of this recognition. Long in the making, Prenshaw’s study has arrived in time to benefit from the current interest in all forms of self-writing: diaries, journals, daybooks, letters, memoirs—even oral histories, interviews, and conversations. For all that they reveal, Prenshaw does not include these “fragmented, discontinuous ‘lower’ forms”; rather, her focus is the more formal autobiography, the book-length text intended for publication. “The diary may offer immediacy and less censorship by author or editor,” Prenshaw observes, “but the published narrative gives us a writerly text, the autobiographer’s art, and it places the life story in an expressive public context” (27). Southern women who have undertaken the task of autobiography have been keenly aware of the risks of self-assertion within the public context, and Prenshaw is fully attuned to the tensions between societal expectations and the lives that southern women have defined in their self-texts. Prenshaw’s goal—one achieved throughout—is to illuminate “the ways in which regionality, gender, and genre are experienced, enacted, and thus made visible in a variety of life writings by southern women” (4). Confining her focus to writers who came of age in the late southern Victorian period, Prenshaw begins with Belle Kearney’s A Slaveholder’s Daughter, published in 1900, and concludes with texts by Elizabeth Spencer and Ellen Douglas that both appeared in 1998. Along the way, she treats texts by public figures, including Helen Keller, and by some of the region’s most celebrated creative writers. Prenshaw’s descriptions and carefully chosen quotations enable a reader to see a text through her eyes, and her connections are always provocative. For example, she links Keller’s The Story of My Life (1903) and Midstream: My Later Life (1929) to physician Anne Walter Fearn’s My Days of Strength [End Page 153] (1939). Both writers suggest some of the ways in which “southern women during this period developed self narratives that decenter the self, composing stories of agency and courage but still deflecting acceptance and recognition of their personal power” (67). Fearn, who practiced in China, is unique among southern women autobiographers in focusing almost solely on her work—in placing highest value on “the self as it is realized and expressed in action, not contemplation” (94). What Prenshaw discerns, however, is an “interior self” that “keeps sending out sounds of its presence like Jane Eyre’s nemesis imprisoned in the attic” (87). Prenshaw finds a certain degree of indirection and elusiveness in the autobiographies of southern women, but equally important is the larger pattern that she delineates: the presentation of a “relational self that emerges indirectly from the narrator’s account of others” (27). Unlike Patricia Meyer Spacks, Prenshaw does not regard this figure as a “self in hiding.” Instead, she contends that “‘relationality’ may be a more accurate description of one’s lived life than ‘introspection,’ especially if the life is that of a woman deeply implicated in family” (167). Even Ellen Glasgow and Zora Neale Hurston, writers who stress their sense of aloneness, still reify and valorize the self through its engagement with others. One of Prenshaw’s goals is to steer readers away from narrow or condescending reactions to women whose lives were marked by the gender norms of another era. Writing about the “wifehood narratives” of Mary Hamilton and Agnes Grinstead Anderson, Prenshaw shows how such texts, which might be dismissed as “biographies of husbands,” invariably “exceed the story the writer sets out to tell, especially when that storyteller aims at self-effacement” (96, 124). Both Hamilton’s Trials of the Earth: The Autobiography of Mary Hamilton (written in the early 1930s, published in 1992) and Anderson’s Approaching the Magic Hour: Memories...

Guiding Principles for Supporting New Literacies in Your Classroom

AbstractIn this article, the authors propose four principles to guide teachers’ thinking as they use technology to support teaching and literacy learning in 21st century classrooms. Specifically, teachers must be aware of emerging technologies, recognize the complexities of new literacies, realize tech‐savvy students may not be skilled readers and writers of web‐based texts, and develop assessments to evaluate 21st century skills. Keeping these principles in mind will help teachers prepare students to become effective readers and writers of digital texts.

Reconceptualizing Critical Literacy Teaching in ESL Classrooms

AbstractAn instructional focus on critical literacy (CL) encourages students to become active readers and writers of cultural texts so that they can create their own meanings in order to shape and transform their social conditions (Lankshear &amp; McLaren, 1993; Shor, 1992). It is, however, seldom pursued with English learners (ELs) because teachers assume that students’ limitations in English will preclude academic engagement with complex social and moral issues. The participatory action research described in this article challenges this assumption (Lau, 2010). Working with an ESL teacher in the Greater Toronto Area, I documented the progress of Grades 7 and 8 ELs engaged in CL work despite their limited English proficiency

Las Comadres : Rendering Research as Performative

As a method for placing Latina college students at the center of research, authors present a dramatic, or performative, text illuminating participants’ life stories. The dramatic text serves as a fictional event bringing to light how five Latina students view their ethnic identities and educational values based on messages from family and peers. Data collection methods incorporated individual interviews, a culturally responsive focus group, and photo artifacts. The authors convey dialogue among script characters by using a combination of direct participant quotes from data transcripts and fictitious exchanges created by the authors to convey a performance dialogue. Authors briefly present the background of performative research text, discuss representing research through dramatic text, and review data collection procedures for this specific study. Finally, the authors detail the process used in constructing Las Comadres as a dramatic text, advancing ideas for dramatic text writers, and providing reflections on the playwriting experience.

Göran Blix . From Paris to Pompeii: French Romanticism and the Cultural Politics of Archaeology . Philadelphia: University of Pennsylvania Press. 2009. Pp. 310. $59.95.

Because such great crowds had gone to town on July 14, 1790, for the Festival of the Federation, the French countryside was so deserted that it could have been mistaken for Pompeii or Herculaneum. This analogy, taken from Jules Michelet, is just one of the many striking details that are included in Göran Blix's book. As the title indicates, Blix's concern is with showing the many, often extremely subtle ways in which Pompeii figured in the imagination of writers and artists in the nineteenth century. With a fine eye for analogies and a deep knowledge of nineteenth-century French literature, he brings to light a remarkable number of references to Pompeii woven into the texts of such writers as Théophile Gautier, Victor Hugo, Madame de Staël, and (surprisingly, in a book on French romanticism) Thomas Carlyle. Blix succeeds well in showing how the figure of Pompeii haunted a generation grappling with the idea of destruction and mutability. Honoré de Balzac for one hoped that his novels would in the future help reconstruct Paris in the historical imagination, like the “manuscripts in the houses of Herculaneum and Pompeii” (p. 198).

The Letters of Gertrude Stein and Virgil Thomson: Composition as Conversation (review)

Reviewed by: The Letters of Gertrude Stein and Virgil Thomson: Composition as Conversation Nadine Hubbs The Letters of Gertrude Stein and Virgil Thomson: Composition as Conversation. Edited by Susan Holbrook and Thomas Dilworth. New York: Oxford University Press, 2010. [ xii, 336 p. ISBN 9780195386639 $49.95.] Illustrations, appendices, bibliography, index. In January of 1926, the twenty-nine-year-old composer and critic Virgil Thomson met Gertrude Stein, then fifty-one, a writer of hermetic texts and well-known member of the transatlantic modernist avant-garde. The two Americans met in Paris at 27 rue de Fleurus, where Stein and her life partner Alice B. Toklas made their home, maintained their atelier of modern art (much of it by friends like Picasso and Matisse), and presided over a celebrated literary and artistic salon. [End Page 722] At their first meeting, Stein let it be known that she was interested in seeing more of Thomson. He was trenchant and plainspoken, a Kansas City native who had made his way to Harvard, where he discovered Stein's work, and then to Paris. Small of stature and already balding, Thomson was strong minded, incisive, witty, and perceived in terms of the type then known as "pansy." Stein was strong minded, charismatic, and imperious, and partook of masculine prerogatives in her appearance, social manner, and claims to literary genius. Thomson immediately spoke to Stein of her writing and his prior attempts to set it to music. On New Year's Day 1927, he presented Stein with a setting of her short poem "Susie Asado" for soprano and piano. In March he proposed, and she accepted, an operatic collaboration, and by June Stein sent Thomson a manuscript, soon to be titled Four Saints in Three Acts. Though it did not resemble a libretto in any conventional sense, Thomson declared the text ideal to his artistic requirements. Some forty years later in his autobiography, he described Stein's words as perfect for his purposes of solving the problem of English musical prosody. The semantic abstractness of the words allowed the composer to focus on their sound and syntax, free from temptation toward text painting and distortion of natural speech rhythms, accents, and intonation. Thomson and Stein's Four Saints in Three Acts solved the prosody problem, but its spectacular success entailed far more than this. And their collaboration came to entail more than Four Saints, including eventually two important modernist operas and great critical and public acclaim, a twenty-year friendship, and one of the most significant high-arts partnerships of the century. This artistic collaboration is the basis for scholarly and readerly interest in correspondence the pair exchanged from their first meeting until Stein's death in 1946. But further factors enhance the appeal of the first collection, edited by University of Windsor (Canada) professors Susan Holbrook and Thomas Dilworth, of all of the collaborators' roughly 400 extant letters, postcards, cables, couriered messages, and pneumatic petits bleus, as well as a series of letters from 1933 to 1934 in which Stein's agent W. A. Bradley serves as go-between, and an epilogue (pp. 279-302) comprising the correspondence of Thomson and Toklas during her years of solitary widowhood (1946-1967). Among other things, there is Stein and Thomson's queerness and its inscriptions in their collaborative and individual work, as discussed in a range of recent scholarship. Also of interest is their enmeshment in international circles of twentieth-century artistic and literary luminaries as friends, lovers, colleagues, and rivals. And there is the fact that both artists were extraordinary conversationalists and writers, capable of turning an apt and memorable phrase. Thomson in 1928, for example, reported to Stein on a visit from their friend Bravig Imbs and his bride. "Bravig seems proud and contented, though he treats her more like a new suit than like a wife. Still, he was always careful of his clothes" (pp. 88-89). Testament to the epistolary interest surrounding these figures includes the previously published volumes of Thomson's letters to various recipients and of his correspondence with friends in the San Francisco Bay area, and of correspondence between Stein and Sherwood Anderson, Mabel Dodge, Pablo Picasso, Carl Van Vechten...

"The Sounds of Deeds": Karl Kraus and Acoustic Quotation

The Viennese satirist Karl Kraus (1874–1936), publisher of the influential periodical The Torch ( Die Fackel ), enjoyed great notoriety during his lifetime as a writer and performer of theatrical texts, famed for his versatility as a vocal mimic and for his ability to turn his own enemies' words against them through probingly glossed quotations of their writing. In recent decades, however, scholarship has treated Kraus primarily as a print satirist, ignoring or downplaying the fact that language, for Kraus, remained vital and meaningful to the extent that it hewed closely to its origins in embodied acts of individual speech. The purpose of this essay is to renew scholarly interest in Kraus's plays and performances by demonstrating how his use of "acoustic quotation"—a term coined by Elias Canetti to describe Kraus's method of quoting printed text as if it were speech—constituted a distinctive response to mass media's disembodiment of language and lived experience in the early twentieth century.

The Economic Ethics of Ezra Pound

The poet Ezra Pound (1885-1972) was a moralist who regarded economics as key to understanding human society, and thereby to solve most social problems. He became a prolific writer of economic texts, in which he espoused the ideas of two heretic economists: Major Clifford Douglas’ social credit and national dividend, and Silvio Gesell’s perishable currency. Pound’s economic thought has long been neglected, but in times of financial crisis his crusade against bankers and his utopian visions might make a timely come back. It is therefore unfortunate that, of Pound’s economic lessons, the morally most compelling are also those less economically sound.

Sensualities/textualities and technologies: writings of the body in 21st century performance

Sensualities/Textualities & Technologies explores the interrelation of text, body and technology in performance. It provides an edited collection which reconsiders textual practices in contemporary performance specifically focussing on the exciting exchange between writerly texts, body and technology. It also adds a further dimension to Palgrave Macmillan's series on technological art and performance practices which includes Broadhurst's and Machon's Performance and Technology and Broadhurst's Digital Practices. This book focuses on and analyses textual practices that are central to contemporary performance. Importantly, it offers an interrogation of diverse 'textualities', that is, performance writing indebted to sensual 'writings of the body' in all manner of ways. The collection looks to new approaches offered by ongoing textual practices in physical, visual and virtual performances that incorporate new and existing technologies. (as on publisher website)