Preface and Introduction

Selected Works of D.T. Suzuki, Volume II: Pure Land, 2015

University of California Press. Edited by James C. Dobbins. ISBN 978-0-520-26893-7

Extended abstract included.

This is the Table of Contents and Introduction for my dissertation, defended in April 2017.

1968

Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.

2008

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@ jstor. org.

Geological Society, London, Memoirs, 2023

The manuscript will undergo copyediting, typesetting and correction before it is published in its final form. Please note that during the production process errors may be discovered which could affect the content, and all legal disclaimers that apply to the book series pertain. Although reasonable efforts have been made to obtain all necessary permissions from third parties to include their copyrighted content within this article, their full citation and copyright line may not be present in this Accepted Manuscript version. Before using any content from this article, please refer to the Version of Record once published for full citation and copyright details, as permissions may be required.

Acs Symposium Series, 2006

The editors thank all of the authors and their respective staffs for their assistance in compiling this project. The varying expertise displayed in this book is a testament to their hard work, diligence, and cooperation. The editors also thank their Father in Heaven through their Lord and Savior Jesus Christ for His direction and support throughout the completion of this project.

Making Mockeries, Making Connections: The "Revolutionary Potential" of Parody in Contemporary Art & Literature, 2018

Parody has been a strategy within cultural production since the ancient Greeks: “paraodia” referred to a song sung alongside the main narrative thread of a dramatic work; the prefix “para-” also signifies “against.” In A Theory of Parody: The Teachings of Twentieth-century Art Forms, Linda Hutcheon offers this core definition: parody is “a form of repetition with ironic critical distance, marking difference rather than similarity … [with] tension between the potentially conservative effect of repetition and the potentially revolutionary impact of difference” (xii). This and other aspects of Hutcheon’s theory guide my interpretations of works by three contemporary artists working in Canada: Sybil Lamb’s novel I’ve Got a Time Bomb; Ursula Johnson’s (Mi’kmaq) three-part exhibition Mi’kwite’tmn (Do You Remember); and Kent Monkman’s (Cree and Irish) exhibition Shame and Prejudice: A Story of Resilience. I argue that the presence of parodic elements in these artists’ works enables them to do two things: to claim spaces that enable recognition of their subject positions, and to critique an aspect of hegemonic norms in contemporary society. I read Lamb’s novel as a critique of the heteronormative gender binary via parody of the picaresque genre and of heteronormative discourse/language. Certain pieces in Monkman’s exhibition parody the epistemological and display strategies of traditional Eurocentric anthropological museums and archives, as can Johnson’s work; her sculptural-installations may also be read as parodying the traditions of Mi’kmaw basket-making. The work of both artists critiques colonial narratives that sought (and may still seek) to denigrate and/or erase Indigenous peoples; such narratives of cultural genocide were both tacitly and directly propagated by museums. I analyze these three artists’ works, considering key features of parody (ambiguity; irony and “double-voicedness”; trans-contextualization; and humour), and their effects (defamiliarization; ontological instability; complicity; and laughter). Parody challenges the post-structuralist emphasis on the “decoder,” (viewer/reader) reinstating the “encoder” (artist/author) as agent. Decoders recognize their complicity within the context of the hegemonic narrative, whether the heteronormative gender binary or colonialism, and may come to shift perception – as per Hutcheon’s “potentially revolutionary impact.”

Single Cell Oils, 2010