Sarah J. Ablett. Dramatic Disgust: Aesthetic Theory and Practice from Sophocles to Sarah Kane. Bielefeld: transcript, 2020, 199 pp., €38.00 (paperback), €37.99 (PDF ebook).

2021 ◽  
Vol 9 (2) ◽  
pp. 330-333
Author(s):  
Laurens De Vos
Author(s):  
Laura Harris

In Experiments in Exile, I explore and compare projects undertaken by two twentieth-century American intellectuals while they lived in voluntary exiles in the United States: the Trinidadian writer and revolutionary C. L. R. James and the Brazilian visual artist and counterculturalist Hélio Oiticica. James and Oiticica never met. They lived and worked in the United States at different moments. My focus is on James’s stay during the 1940s and on Oiticica’s stay during the 1970s. Given the significant differences between them—not just at the level of nationality but at the level of race (James was black, Oiticica was white), class (James was situated within a precarious middle class, Oiticica was firmly established within an upper middle class), sexuality (James was straight, Oiticica was gay), and disciplinary locations (James is generally situated in the history of radical social theory and practice, and Oiticica is generally situated in the history of avant-garde aesthetic theory and practice)—this is surely an unlikely combination. This study is itself an experiment, one that goes beyond the usual parameters of comparativist or transnational research, to identify, in the surprising resonances between the projects pursued by these two very disparate figures, a common project I believe they, together, bring into relief....


2012 ◽  
Vol 3 (2) ◽  
pp. 16-23
Author(s):  
Kasper Daugaard ◽  
Amalie Ørum

Abstract To peel an onion, to grate a carrot, and to set a table, each has its own choreographic recipe. Culinary art/ cookery is choreographed everyday life, and cooking is a dance everyone knows. The Art of Peeling an Onion is based on the dance piece Gæst (Guest), choreographed by Kasper Daugaard. The piece is for five dancers, a female soloist and four choir dancers, and originates entirely from culinary actions. The purpose of the article is not to maintain theory and practice as two separate entities, but to show how they supply each other and offer each other content. We aim to create a balanced understanding of the relationship between the creative process, the audience experience, and the aesthetic theory related to both the content and the outcome of artistic work. We view theory and practice hand in hand, because we have strived to put into words that which can be experienced, to verbalise the spectator’s experiences, the physical as well as reflexive, with the ambition of formulating a quite tangible experience-based aesthetics.


2012 ◽  
Vol 21 (3) ◽  
pp. 74-81 ◽  
Author(s):  
Debbie Witkowski ◽  
Bruce Baker

Abstract In the early elementary grades, the primary emphasis is on developing skills crucial to future academic and personal success—specifically oral and written communication skills. These skills are vital to student success as well as to meaningful participation in the classroom and interaction with peers. Children with complex communication needs (CCN) may require the use of high-performance speech generating devices (SGDs). The challenges for these students are further complicated by the task of learning language at a time when they are expected to apply their linguistic skills to academic tasks. However, by focusing on core vocabulary as a primary vehicle for instruction, educators can equip students who use SGDs to develop language skills and be competitive in the classroom. In this article, we will define core vocabulary and provide theoretical and practical insights into integrating it into the classroom routine for developing oral and written communication skills.


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