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Permanent URI for this collectionhttps://hdl.handle.net/20.500.14288/3
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Publication Metadata only Emine Sevgi Özdamar's translingual poetics in Mutterzunge(Univ Toronto Press Inc, 2013) Department of Comparative Literature; Department of Comparative Literature; Ergin, Meliz; Faculty Member; College of Social Sciences and Humanities; 101428Publication Metadata only Theatre of anger: radical transnational performance in contemporary Berlin(Wiley, 2022) Department of Comparative Literature; Department of Comparative Literature; Reisoğlu, Mert Bahadır; Faculty Member; College of Social Sciences and Humanities; 272108Publication Metadata only Jack Kerouac and Allen Ginsberg: the letters(Univ Houston, Victoria-Art & Sci, 2013) NA; Department of Comparative Literature; Department of Comparative Literature; Mortenson, Erik; Faculty Member; College of Social Sciences and Humanities; N/AN/APublication Metadata only Poetry takes centre stage: John Wieners' Still Life at the New York Poets Theatre(Bloomsbury Publishing, 2016) NA; Department of Comparative Literature; Department of Comparative Literature; Mortenson, Erik; Faculty Member; College of Social Sciences and Humanities; N/AReaders and acolytes of the vital early 1950s-mid 1960s writers known as the Beat Generation tend to be familiar with the prose and poetry by the seminal authors of this period: Jack Kerouac, Gregory Corso, Lawrence Ferlinghetti, Diane Di Prima, and many others. Yet all of these authors, as well as other less well-known Beat figures, also wrote plays—and these, together with their countercultural approaches to what could or should happen in the theatre—shaped the dramatic experiments of the playwrights who came after them, from Sam Shepard to Maria Irene Fornes, to the many vanguard performance artists of the seventies. This volume, the first of its kind, gathers essays about the exciting work in drama and performance by and about the Beat Generation, ranging from the well-known Beat figures such as Kerouac, Ginsberg and Burroughs, to the “Afro-Beats” - LeRoi Jones (Amiri Baraka), Bob Kaufman, and others. It offers original studies of the women Beats - Di Prima, Bunny Lang - as well as groups like the Living Theater who in this era first challenged the literal and physical boundaries of the performance space itself.Publication Metadata only Whose hostage? irregular migration and the struggle for recognition(Sage, 2016) Department of Comparative Literature; Department of Comparative Literature; Ergin, Meliz; Faculty Member; College of Social Sciences and Humanities; 101428In debates about strategies of in/visibility and recognition in the Italian migratory context, the right to look is almost exclusively attributed to Italians. This essay explores the work of contemporary writers and filmmakers, who reframe the seen/seer dichotomy and focus on the migrant gaze to demand a reevaluation of the frontiers between host/guest, Italian/foreigner. It approaches the issue of recognition through a critical reading of two philosophers, Derrida and Hegel, who root identity in reciprocal relations and emphasize the importance of mutual recognition in disrupting static categories of identity. While the first part presents an analysis of Khouma's Io, venditore di elefanti in the light of Derrida's discussion of the laws of hospitality, the second part focuses on Hegel's dialectics of recognition to examine the laborious entanglement of Italians and migrants in de Caldas Brito's 'Io, polpastrello 5.423' and Garrone's Terra di Mezzo.Publication Metadata only The poet Nef'i, fresh Persian verse, and Ottoman freshness(Taylor & Francis, 2021) Department of Comparative Literature; Department of Comparative Literature; Kim, Sooyong; Faculty Member; College of Social Sciences and Humanities; 52305Scholars have generally recognized the Ottoman poet Nef?i (d. 1635) for his refinement of the panegyric in Turkish and his skill in its unflattering twin, the invective. They have thus paid little attention to the fact that he composed poems in Persian, and sufficient to compile a collection of them, simply viewing his output as a byproduct of his taste for the fresh style emanating from the East, particularly India, with no consideration of other factors at play. The article addresses this contextual gap by situating Nef?i's engagement with the fresh style in relation to wider efforts at poetic renewal and also to literati disputes about the extent to which the fresh style and other currents from the East ought to be adopted and assimilated, in which differing formal and generic preferences, as well as linguistic and rhetorical concerns, were central. The article ultimately suggests that Nef?i's overall work should be seen as part of those wider efforts that also aimed at making Ottoman practice distinctively fresh.Publication Metadata only The ghost of humanism: rethinking the subjective turn in postwar American photography(Taylor & Francis Ltd, 2014) NA; Department of Comparative Literature; Department of Comparative Literature; Mortenson, Erik; Faculty Member; College of Social Sciences and Humanities; N/AThis article examines the use of shadow, blur, graininess, and reflection in the work of the postwar photographers Robert Frank, William Klein, and Ralph Eugene Meatyard as a response to the rhetoric of Cold War containment. In contrast to the more comforting images in Edward Steichen's popular exhibit The Family of Man, which sought to downplay Cold War anxieties, the photographs of Frank, Klein, and Meatyard challenged viewer expectation by presenting human figures in varying states of disintegration and disappearance. The term 'subjective' has long been used to describe a return to personal and private concerns during the postwar years, but discussion has focused mainly on the subjectivity of the artist rather than the viewer. By challenging the sanctity of the human figure, Frank, Klein, and Meatyard force viewers to confront such difficult images and, in the process, re-examine the fears and anxieties that lay dormant during the tense years of the early Cold War.