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A Review of The Amen Corner, 2021
Ijeoma N. Njaka

The author reviews the 2021 production of James Baldwin’s play, The Amen Corner, as directed by Whitney White at Shakespeare Theatre Company in Washington, DC. After situating the experience of engaging with Baldwin’s art through a constructivist approach to art-based education and learning design, the piece turns to considering the impact of various interpretive materials and the director’s artistic vision in the production. White’s decision to include an epigraph in the production leaves a notable impact, particularly in conversation with Baldwin’s essays, “Why I Stopped Hating Shakespeare” and “The Artist’s Struggle for Integrity.”

James Baldwin Review
Abstract only
Anthony Mellors

torn between modernist facture and the desire to achieve a direct poetic language that would correspond with the actuality promised by a step back to the archaic postmodern. Yet he insists that the ‘mythologic, as method’ (meta hodos, not the path itself but the way in which the path is known, the projective totality), the method derived from Eliot and Pound, ‘is the only true one because, it distinguishes blood from sun, and reality from its own identical mythology, and sets sun as source and art as source’.21 Montage, ideogram, constructivism, parataxis

in Contemporary Olson
Peter Barry

‘linguistic sublime’, which is that ‘constructivist’ notion of language which sees it as constructing or forming our world, so that effectively everything is language, or language is everything, depending on how you want to look at it. The theorist and philosopher Christopher Norris (b. 1947) has long been a major force in confronting and dismantling the prestige of full-on linguistic constructivism. Norris is suspicious (and more) of the view that language speaks us rather than vice versa, a notion which, he says (presumably with Heidegger and de Man in mind), too easily

in Beginning theory (fourth edition)
Wallace’s ‘click’ between Joyce’s literary consubstantiality and Wittgenstein’s family resemblance
Dominik Steinhilber

– essentially solipsistic rejection of the communicative other's selfhood and total otherness (Ewijk, 2009 : 138) – are also apparent in Infinite Jest 's depiction of Hal's brother, Orin. The private language user's (semi-)solipsist constructivism absorbs the other as the individual's creation into the self. Orin is exemplary of the postmodern, self-reflexive solipsism that Infinite Jest criticizes. He views ‘truth as constructed ’ (Wallace, 2006: 1048 ) and uses ironic pick-up lines such as ‘Tell me what sort of man you prefer, and then I'll affect the demeanor of that

in Reading David Foster Wallace between philosophy and literature
Beholding young people’s experiences and expressions of care through oral history performance
Kathleen Gallagher
Rachel Turner-King

”, what is “in their heads” or “in their hearts”. With our interest solidly placed in this idea of interiority (that is, the stuff “inside” of people), all our efforts to shape, change, inspire, or otherwise influence others are directed at people’s “insides”’ (Tilsen, 2018 : 14). Tilsen calls for youth workers to engage in a form of a critical pedagogy that goes beyond ‘essentialist notions of identity’ ( 2018 : 16). While Tilsen’s ‘narrative approach’ to youth work emphasises well-rehearsed notions of social constructivism, her discussion of ‘storying’ is most

in Performing care
Jandl and Mayröcker’s radio play Spaltungen
Inge Arteel

position as inflated, not as that of a ‘natural’ leader. And his declamatory voice extremely stretches and stresses the phonemes in a way that defies any eloquence. Spaltungen can moreover be read as exposing the constructivism at work in any unified presentation of the chorus as a group of followers. The different choruses are constantly shifting, both in their interaction with the protagonist and in their relations with each other. Sometimes they occupy all speaking positions, creating a kind of surround modus. Sometimes they provide the acoustic background out of

in Tuning in to the neo-avant-garde
Bryce Lease

and Balladyna reconfigured predominant cultural categories of ‘woman’ that placed prominence on social constructivism over biological essentialism. At the end of the 1990s, literary and theatre scholar Elżbieta Baniewicz (1999) commended Augustynowicz for her frank portrayals of sexuality, a highly taboo topic about which Polish society was often hypocritical. Baniewicz further wondered why no male directors had approached themes concerning sexual violence against women with the same courage as Augustynowicz, warning that it is easy to believe such social concerns

in After ’89
John Kinsella

and trucks. All those ties, all those routes to ‘constructivism of a shallow grave’. He said it earlier, slightly earlier – the paragraph, the stanza before: ‘In the suprematism of a highway, joining the dots in a history of the Richter scale.’ Threat? Urban wanderings to the ‘End’, as Atkins shows us – responds but not to tell us. These frames. How safe? Melange of populace or specificity of the hazed gaze? That was the urban bucolic. Theocritus looked to his home, Sicily, for his Arcadia. Arcadia for Virgil was, well, Arcadia. In Greece Arcadia is the ground

in Polysituatedness
Texts, intertexts, and contexts
Maria Holmgren Troy
Elizabeth Kella
, and
Helena Wahlström

relevant and to have an effect on literary production. It is clear that multiculturalism ‘takes seriously the desire of groups to conserve group identity and existence’ (Sundstrom, 2008: 102), and the questions that this raises about tradition and change, domination and oppression, and essentialism and constructivism in identities and cultural production make up much of the literary landscape of the orphan figures we examine in the following chapters. The USA is a nation largely constituted by racial encounters, and the social construction of race continues to have

in Making home
The battle of The Screens
Carl Lavery

marks a major departure from the ambiguous metatheatricality dominating The Balcony and The Blacks . Whereas the latter problematised Aristotelian notions of plot, character and space by deliberately deconstructing the gap separating the fictional from the real, The Screens invests in an epic form of storytelling with a discernable beginning, middle and end. In Blin’s production, more than sixty actors were required, and a flotilla of mobile screens was used to point, indexically, to different places and loci. Like the scenic constructivism of Vsevolod Meyerhold

in The politics of Jean Genet’s late theatre