The Phenomenology of Maurice Merleau-Ponty and Literary Arts

Author(s):  
Piotr Mróz
Keyword(s):  
Author(s):  
Natasha Thomas-Jackson

RAISE IT UP! Youth Arts and Awareness (RIU) is an organization that promotes youth engagement, expression, and empowerment through the use of performance and literary arts and social justice activism. We envision a world where youth are fully recognized, valued, and supported as artist-activists and emerging thought leaders, working to create a world that is just, intersectional, and inclusive. Two fundamental tenets shape RIU’s policies, practices, and pedagogy. The first is that creative self-expression and culture making are powerful tools for personal and social transformation. The second is that social justice is truly possible only if and when we are willing to have transparent and authentic conversations about the oppression children experience at the hands of the adults in their lives. We are committed to amplifying youth voices and leadership and building cross-generational solidarity among people of all ages, particularly those impacted by marginalization. Though RIU is focused on and driven by the youth, a large part of our work includes helping adult family members, educators, and community leaders understand the ways in which systemic oppression shapes our perceptions of and interactions with the young people in our homes, neighborhoods, institutions, and decision-making bodies.


Utafiti ◽  
2018 ◽  
Vol 13 (2) ◽  
pp. 133-153
Author(s):  
Stephen T. Ogundipe

Representations of neighbourhood in contemporary Northern Nigerian fiction are a departure point for scholars exploring the structures and sources of ethnic and religious violence. Using Edify Yakusak’s After They Left and Elnathan John’s Born on a Tuesday, Slavoj Zizek's analysis of the concept of neighbour is applied here, to engage theoretically with Northern Nigerian social conditions. This framework illuminates the links existing between the everyday experience of neighbourhoods in real life, and their imaginative representations in the literary arts.


2012 ◽  
Vol 33 (1) ◽  
Author(s):  
John Derby

<p class="MsoNormal" style="text-indent: .5in; line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;;">This essay uses Couser&rsquo;s presentation of autopathography as a frame for disseminating creative autoethnographic research practices. The preface outlines the conceptual framework for the research, which critically explores personal, cultural, and institutional contexts of mental disability discourses in response to Foucault&rsquo;s thesis that the arts dismantle normalizing myths about mental disability. Following Foucault&rsquo;s treatment of visual, performing, and literary arts as a homogeneous entity, the ensuing story demonstrates how traditional and emerging art practices and creative writing can be hybridized to create complex representations of disability that challenge ableist, normalizing discourses.</span></p><p class="MsoNormal" style="text-indent: .5in; line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;;">keywords: art, autopathography, hybridity, mental illness, mental disability</span></p><!--[if gte mso 10]> <mce:style><! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} > <! [endif] ></d-->


2016 ◽  
Vol 13 (3) ◽  
pp. 351-352
Author(s):  
Bonnie Zindel
Keyword(s):  

2016 ◽  
Vol 13 (2) ◽  
pp. 236-237
Author(s):  
Bonnie Zindel
Keyword(s):  

1985 ◽  
Vol 11 (1) ◽  
pp. 146
Author(s):  
Martin Collcutt ◽  
William R. LaFleur
Keyword(s):  

Author(s):  
Takuya Tsunoda

Matsumoto Shunsuke was an oil painter and essayist active in the years up to and through the Pacific War. His best-known paintings, most of which feature figures in urban landscapes, include several self-portraits such as Standing Figure (1942). Matsumoto contracted spinal meningitis at the age of eleven, which eventually led to the loss of his hearing, an event that steered him towards the career of professional artist, and encouraged him to become immersed in reading and the literary arts. Later, it also rendered him ineligible for the draft. At seventeen he dropped out of high school and moved to Tokyo, where he studied oil painting at the Pacific School of Fine Arts (Taiheiyô Bijutsu Gakkô) for three years. In 1935 he became a member of the avant-garde NOVA Art Society, the first of several exhibition collective and artist groups in which he would participate. Other groups including the Nikakai, the Nine-Room Society (Kyûshitsukai), and the Newcomers Painting Society (Shinjin Gakai). Like Ai Mitsu, Asô Saburô, and others with whom he associated, Matsumoto expanded his style to accommodate expanded Japanese interest in Abstraction and Surrealism during the 1930s, but he largely retained his interest in painting intimate portraits, set in non-idealized cityscapes, throughout his career.


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