This introductory chapter notes that Lynda Barry's works share the theme of passing on creati... more This introductory chapter notes that Lynda Barry's works share the theme of passing on creativity. It explains how Barry's work combats neoliberal environments of competition, perfectionism, individualism, and maturity while also breaking down assumptions over good art and bad art. Moreover, her works tend to highlight the pedagogy between classmates and instructors. Barry offers a self-reflective critical and pedagogical praxis that shows a willingness to admit mistakes and reflect on over instruction. The chapter acknowledges Barry as a master of rememorying, which is known to be the deliberate reconstruction of memory to void fixed categories. It considers Barry's pedagogical practice in comparison to radical critiques of the academia and art world.
Http Dx Doi Org 10 1080 09589230600720042, Jul 1, 2006
ABSTRACT This essay aligns the narrative trajectories of a selected group of contemporary fantasy... more ABSTRACT This essay aligns the narrative trajectories of a selected group of contemporary fantasy novels with various medieval sources, with an emphasis on the enduring cultural fantasy of the strong woman who rises above a general condition of female disenfranchisement. The ...
Plays of the Fall are largely uninterested in Eve's subjective responses to her change of state a... more Plays of the Fall are largely uninterested in Eve's subjective responses to her change of state after the Fall, but several English plays of the Flood appear actively invested in the exploration of Mrs Noah's responses to the drowning of the world as she knows it. This article returns to the issue of female recalcitrance in the Noah plays from York, Chester, and (in particular) Towneley. Given that Mrs Noah is beaten or forced onto the Ark in all three plays, this article also addresses the question of whether and how violence against women in farce plays can ever be real or serious, and also of whether and how female resistance to this violence, or female violence, can be real or serious in its turn. In York and Chester, Mrs Noah raises her voice in mourning for friends and relatives, and in the Towneley play insists on remaining behind to work. The story of the Ark has its obvious cruelties; the inclusion of Mrs Noah's resisting voice is one way of making these cruelties present and real for the audience. The Noah plays from York, Chester, and Towneley have investments of various sorts in those who are left behind, and these investments are often filtered through the voice of Mrs Noah. This is not to say that Mrs Noah's recalcitrance is approved in any given play, but it is present and persistent even when it is disapproved and defeated. Significantly, given that her recalcitrance is an extra-biblical feature, this feature offers a voice not only for the dead but also for the living: all those women at the bottom of the hierarchy of discourse. All three plays place an emphasis on Mrs Noah's exclusion from God's and Noah's counsels alike; her anger and denial are shown to spring not merely from her flaws of faith and character, but also from her resentment at her late and mediated exposure to the realities of the situation. Madeleine L'Engle has a displaced twentieth-century observer of the Flood point out in her novel Many Waters that 'Only the males have names…They're just women, so they don't matter. They don't care if Yalith gets drowned'. 1 Early Theatre 5.1(2002) 'Hastow nat herd hou saved was Noe, Whan that oure Lord hadde warned hym biforn That all the world with water sholde be lorn?' 'Yis,' quod this Carpenter, 'ful yoore ago'. 'Hastou nat herd,' quod Nicholas, 'also The sorwe of Noe with his felaweshipe, Er that he myghte gete hys wyf to shipe? Hym hadde be levere, I dar wel undertake, At thilke tyme, than all his wetheres blake That she hadde had a ship hirself allone'.
... PP. VIII + 317 + 9 BLACK-AND-WHITE FIGURES. OXFORD: OXFORD UNIVERSITY PRESS, 2003. {POUND}65.... more ... PP. VIII + 317 + 9 BLACK-AND-WHITE FIGURES. OXFORD: OXFORD UNIVERSITY PRESS, 2003. {POUND}65.00 (ISBN 0 19 925251 3). Авторы, Jane Tolmie. Журнал, Notes and Queries. Издательство, Oxford University Press. Год выпуска, 2006, ISSN, 0029-3970. ...
Following on from Howard Bloch's investigation of a 'refusal of univocal meaning' ... more Following on from Howard Bloch's investigation of a 'refusal of univocal meaning' in the thirteenth-century Roman de Silence, this article examines the poem as inviting critics to investigate the collapse of binary systems such as male/female, in/out, language/silence, learned/ ...
This essay aligns the narrative trajectories of a selected group of contemporary fantasy novels w... more This essay aligns the narrative trajectories of a selected group of contemporary fantasy novels with various medieval sources, with an emphasis on the enduring cultural fantasy of the strong woman who rises above a general condition of female disenfranchisement. The ...
This essay aligns the narrative trajectories of a selected group of contemporary fantasy novels w... more This essay aligns the narrative trajectories of a selected group of contemporary fantasy novels with various medieval sources, with an emphasis on the enduring cultural fantasy of the strong woman who rises above a general condition of female disenfranchisement. The ...
As Eisen demonstrates, each exegete learned from his predecessors, though there was often also di... more As Eisen demonstrates, each exegete learned from his predecessors, though there was often also disagreement. As well, each took his interpretation in new and interesting directions. Eisen takes care to keep the reader abreast of the changes introduced by the ...
This article brings some of the discourses of contemporary frame analysis to bear on female incit... more This article brings some of the discourses of contemporary frame analysis to bear on female incitement — often called goading or whetting (fromhvetja‘to whet’) — in feud structures within several well-known medieval Icelandic family sagas. Broadly speaking, female goading in saga literature is a form of dialogic exchange in which women urge men to perform particular tasks, often seemingly against their will. These tasks mainly revolve around blood-vengeance and legal action, the twin obsessions of saga literature; in neither area is it simple for saga women to participate officially or directly. The article’s approach is similar to Marcel Bax’s (2000) approach to moments of ritual discord in sixteenth-century Dutch plays in that it considers specific historical framing practices as forms of ritual language.
This introductory chapter notes that Lynda Barry's works share the theme of passing on creati... more This introductory chapter notes that Lynda Barry's works share the theme of passing on creativity. It explains how Barry's work combats neoliberal environments of competition, perfectionism, individualism, and maturity while also breaking down assumptions over good art and bad art. Moreover, her works tend to highlight the pedagogy between classmates and instructors. Barry offers a self-reflective critical and pedagogical praxis that shows a willingness to admit mistakes and reflect on over instruction. The chapter acknowledges Barry as a master of rememorying, which is known to be the deliberate reconstruction of memory to void fixed categories. It considers Barry's pedagogical practice in comparison to radical critiques of the academia and art world.
Http Dx Doi Org 10 1080 09589230600720042, Jul 1, 2006
ABSTRACT This essay aligns the narrative trajectories of a selected group of contemporary fantasy... more ABSTRACT This essay aligns the narrative trajectories of a selected group of contemporary fantasy novels with various medieval sources, with an emphasis on the enduring cultural fantasy of the strong woman who rises above a general condition of female disenfranchisement. The ...
Plays of the Fall are largely uninterested in Eve's subjective responses to her change of state a... more Plays of the Fall are largely uninterested in Eve's subjective responses to her change of state after the Fall, but several English plays of the Flood appear actively invested in the exploration of Mrs Noah's responses to the drowning of the world as she knows it. This article returns to the issue of female recalcitrance in the Noah plays from York, Chester, and (in particular) Towneley. Given that Mrs Noah is beaten or forced onto the Ark in all three plays, this article also addresses the question of whether and how violence against women in farce plays can ever be real or serious, and also of whether and how female resistance to this violence, or female violence, can be real or serious in its turn. In York and Chester, Mrs Noah raises her voice in mourning for friends and relatives, and in the Towneley play insists on remaining behind to work. The story of the Ark has its obvious cruelties; the inclusion of Mrs Noah's resisting voice is one way of making these cruelties present and real for the audience. The Noah plays from York, Chester, and Towneley have investments of various sorts in those who are left behind, and these investments are often filtered through the voice of Mrs Noah. This is not to say that Mrs Noah's recalcitrance is approved in any given play, but it is present and persistent even when it is disapproved and defeated. Significantly, given that her recalcitrance is an extra-biblical feature, this feature offers a voice not only for the dead but also for the living: all those women at the bottom of the hierarchy of discourse. All three plays place an emphasis on Mrs Noah's exclusion from God's and Noah's counsels alike; her anger and denial are shown to spring not merely from her flaws of faith and character, but also from her resentment at her late and mediated exposure to the realities of the situation. Madeleine L'Engle has a displaced twentieth-century observer of the Flood point out in her novel Many Waters that 'Only the males have names…They're just women, so they don't matter. They don't care if Yalith gets drowned'. 1 Early Theatre 5.1(2002) 'Hastow nat herd hou saved was Noe, Whan that oure Lord hadde warned hym biforn That all the world with water sholde be lorn?' 'Yis,' quod this Carpenter, 'ful yoore ago'. 'Hastou nat herd,' quod Nicholas, 'also The sorwe of Noe with his felaweshipe, Er that he myghte gete hys wyf to shipe? Hym hadde be levere, I dar wel undertake, At thilke tyme, than all his wetheres blake That she hadde had a ship hirself allone'.
... PP. VIII + 317 + 9 BLACK-AND-WHITE FIGURES. OXFORD: OXFORD UNIVERSITY PRESS, 2003. {POUND}65.... more ... PP. VIII + 317 + 9 BLACK-AND-WHITE FIGURES. OXFORD: OXFORD UNIVERSITY PRESS, 2003. {POUND}65.00 (ISBN 0 19 925251 3). Авторы, Jane Tolmie. Журнал, Notes and Queries. Издательство, Oxford University Press. Год выпуска, 2006, ISSN, 0029-3970. ...
Following on from Howard Bloch's investigation of a 'refusal of univocal meaning' ... more Following on from Howard Bloch's investigation of a 'refusal of univocal meaning' in the thirteenth-century Roman de Silence, this article examines the poem as inviting critics to investigate the collapse of binary systems such as male/female, in/out, language/silence, learned/ ...
This essay aligns the narrative trajectories of a selected group of contemporary fantasy novels w... more This essay aligns the narrative trajectories of a selected group of contemporary fantasy novels with various medieval sources, with an emphasis on the enduring cultural fantasy of the strong woman who rises above a general condition of female disenfranchisement. The ...
This essay aligns the narrative trajectories of a selected group of contemporary fantasy novels w... more This essay aligns the narrative trajectories of a selected group of contemporary fantasy novels with various medieval sources, with an emphasis on the enduring cultural fantasy of the strong woman who rises above a general condition of female disenfranchisement. The ...
As Eisen demonstrates, each exegete learned from his predecessors, though there was often also di... more As Eisen demonstrates, each exegete learned from his predecessors, though there was often also disagreement. As well, each took his interpretation in new and interesting directions. Eisen takes care to keep the reader abreast of the changes introduced by the ...
This article brings some of the discourses of contemporary frame analysis to bear on female incit... more This article brings some of the discourses of contemporary frame analysis to bear on female incitement — often called goading or whetting (fromhvetja‘to whet’) — in feud structures within several well-known medieval Icelandic family sagas. Broadly speaking, female goading in saga literature is a form of dialogic exchange in which women urge men to perform particular tasks, often seemingly against their will. These tasks mainly revolve around blood-vengeance and legal action, the twin obsessions of saga literature; in neither area is it simple for saga women to participate officially or directly. The article’s approach is similar to Marcel Bax’s (2000) approach to moments of ritual discord in sixteenth-century Dutch plays in that it considers specific historical framing practices as forms of ritual language.
Uploads
Papers by Jane Tolmie