scholarly journals Absent Without Leave: A Travel Memoir of Strange Mourning

2013 ◽  
Vol 2 ◽  
pp. C21-C30
Author(s):  
Susan Bradley Smith
Keyword(s):  
The Self ◽  
Non Fiction ◽  
Creative Non Fiction ◽  
At Home

This creative non-fiction essay is from a book in progress, a parenting memoir called ‘Hunting Flowers’. The edge with this memoir is that is written honestly in the (guilty) voice of a female academic who has 'run away' from home for work far too often - and gets into too much trouble, both at home and away. It covers two decades, five children, four continents, a few husbands, and more universities than sensible in any one life. Absent Without Leave in particular uses the confessional voice to tells stories not only against the self, but against the larger dramatis persona, the institutions and people we work with and for. The main thematic concern - is it ethical, this hunt for success, when we absent ourselves form our children? - is swallowed by the constant feminist nag: is this the only way to do it?

scholarly journals Self Writing and World Mapping in Tim Bowling’s 'Downriver Drift' (2000) and 'The Paperboy’s Winter' (2003)

2020 ◽  
Vol 28 ◽  
pp. 33-43
Author(s):  
Leonor María Martínez Serrano
Keyword(s):  
Sense Of Place ◽  
Natural Environment ◽  
Human Condition ◽  
The Self ◽  
Literary Genres ◽  
Surrounding World ◽  
Non Fiction ◽  
Creative Non Fiction ◽  
The Human Condition

Widely acclaimed as one of the best living Canadian authors, Tim Bowling has cultivated several literary genres with great talent and verbal craftsmanship. He has published twelve poetry collections to date, two works of creative non-fiction, and five novels, including Downriver Drift (2000), The Paperboy’s Winter (2003), The Bone Sharps (2007), The Tinsmith (2012) and The Heavy Bear (2017). This article explores the epistemological power of Bowling’s fiction as a mode of knowing the self and the nonhuman environment. More specifically, bearing in mind fundamental ecocritical tenets, it analyses how his two earliest novels, Downriver Drift and The Paperboy’s Winter, evoke notions of dwelling and a compelling sense of place, as the natural environment in them is much more than mere backdrop to the narratives unfolding in their respective plots. Written in elegantly wrought language rich in poetic resonance, Bowling’s novels remind their readership that fiction is a powerful tool to investigate the human condition and our surrounding world, where the human and the nonhuman coexist on democratic terms.

Creative Non-fiction and Poetry

2021 ◽  
pp. 589-604
Author(s):  
Stacey D’Erasmo
Keyword(s):  
Significant Influence ◽  
The Self ◽  
Life And Death ◽  
Narrative Design ◽  
Non Fiction ◽  
Susan Sontag ◽  
Creative Non Fiction ◽  
Radical Transformation

This chapter considers Woolf’s significant influence on feminist writers working in the essay, creative non-fiction, and poetry. Woolf’s radical transformation of narrative design is emphasized. Woolf developed an aesthetic of patterning, repetition, and decentralization that transformed not only fiction, but also creative non-fiction and poetry. In Woolf’s work, every life is exquisitely enclosed in an overall pattern of life and death, of colour and light and movement, over which no single consciousness is master. Woolf’s method suffuses the work of writers such as Susan Sontag, Rebecca Solnit, Leslie Jamison, and Eula Biss, among others. It revolutionizes our ideas not only about the nature of perception, but also about the construction of reality, narrative, and the self.

GENDER DIFFERENCES IN READING PREFERENCE: EVIDENCE FROM A MOBILE PHONE PLATFORM

Mousaion ◽  
2016 ◽  
Vol 34 (2) ◽  
pp. 1-14
Author(s):  
Kelly De Villiers ◽  
Johann Louw ◽  
Colin Tredoux
Keyword(s):  
Gender Differences ◽  
Mobile Phone ◽  
South African ◽  
The Self ◽  
Male And Female ◽  
Reading Preference ◽  
Non Fiction ◽  
Proxy Measure ◽  
Poor Communities

Two studies were conducted to investigate gender differences in a sample of young South African readers from poor communities. In the first study, the self-reported reading preferences of 2 775 readers on a mobile phone platform supplied by the FunDza Literacy Trust were surveyed. Both male and female readers indicated that they liked four genres in particular: romance, drama, non- fiction, and stories with specific South African content. There were nevertheless some differences, such as that a higher percentage of males liked stories involving sport. The second study examined the unique FunDza site visits made by readers, as a proxy measure of what they actually were reading. Four genres stood out: romance, drama, biography, and action/adventure. Again the similarity between male and female readers was noticeable, although many more females than males read content on the site.

scholarly journals ‘You wouldn’t get that from watching TV!’: Exploring audience responses to virtual reality non-fiction in the home

2020 ◽  
pp. 135485652097996
Author(s):  
David Philip Green ◽  
Mandy Rose ◽  
Chris Bevan ◽  
Harry Farmer ◽  
Kirsten Cater ◽  
...  
Keyword(s):  
Virtual Reality ◽  
New Media ◽  
Home Setting ◽  
Media Technologies ◽  
Non Fiction ◽  
Audience Responses ◽  
The Media ◽  
The Cost ◽  
Watching Tv ◽  
At Home

Consumer virtual reality (VR) headsets (e.g. Oculus Go) have brought VR non-fiction (VRNF) within reach of at-home audiences. However, despite increase in VR hardware sales and enthusiasm for the platform among niche audiences at festivals, mainstream audience interest in VRNF is not yet proven. This is despite a growing body of critically acclaimed VRNF, some of which is freely available. In seeking to understand a lack of engagement with VRNF by mainstream audiences, we need to be aware of challenges relating to the discovery of content and bear in mind the cost, inaccessibility and known limitations of consumer VR technology. However, we also need to set these issues within the context of the wider relationships between technology, society and the media, which have influenced the uptake of new media technologies in the past. To address this work, this article provides accounts by members of the public of their responses to VRNF as experienced within their households. We present an empirical study – one of the first of its kind – exploring these questions through qualitative research facilitating diverse households to experience VRNF at home, over several months. We find considerable enthusiasm for VR as a platform for non-fiction, but we also find this enthusiasm tempered by ethical concerns relating to both the platform and the content, and a pervasive tension between the platform and the home setting. Reflecting on our findings, we suggest that VRNF currently fails to meet any ‘supervening social necessity’ (Winston, 1996, Technologies of Seeing: Photography, Cinematography and Television. British: BFI.) that would pave the way for widespread domestic uptake, and we reflect on future directions for VR in the home.

scholarly journals Armut und Autobiographie – Versuch einer Begriffsanalyse

2014 ◽  
Vol 5 (2) ◽  
pp. 69-76
Author(s):  
Małgorzata Bogaczyk-Vormayr
Keyword(s):  
Oral History ◽  
Daily Life ◽  
Concept Analysis ◽  
Migration Background ◽  
The Self ◽  
Working Paper ◽  
Non Fiction ◽  
And Migration ◽  
Childhood Suffering ◽  
Short Working

This short working paper is my first attempt to present my concept analysis of relation between the poverty experiences – e.g. childhood suffering by war and migration background, daily life suffering by starvation, abuse, racism etc. – and the process of self-understanding and resilience with the help of an oral history or literature (non-fiction as much as fiction novels). I reflect Wilhelm Dilthey’s opinion about the distinction between autobiography and Self-biography, and I present the Self-biography as a right way to concretize the themes of poverty and exclusion.

Development of an instrument to assess self-management capacity of patients receiving peritoneal dialysis: CAPABLE

2021 ◽  
pp. 089686082110598
Author(s):  
Martha Devia ◽  
Jasmin Vesga ◽  
Ricardo Sanchez ◽  
Rafael M Sanabria ◽  
Ana Elizabeth Figueiredo
Keyword(s):  
Peritoneal Dialysis ◽  
The Self ◽  
Basic Knowledge ◽  
Self Management ◽  
Second Phase ◽  
Early Evaluation ◽  
Management Capacity ◽  
Preliminary Version ◽  
Bibliographic Search ◽  
At Home

Background: Treatment of kidney failure with peritoneal dialysis (PD) at home implies that the patient and/or their caregiver develop a series of skills and basic knowledge about this therapy. There is not a specific inventory of the patient’s abilities to safely perform the PD procedure at home. The objective of this study was to describe the development of an instrument that allows measuring the self-management capacity of patients receiving PD, locating the performance areas that justify the need for intervention by a caregiver. Methods: This is a qualitative study developed in three phases: The first phase was the identification of performance areas through bibliographic search and validation of the results with focus groups of experts in PD. The second phase was the design of a system to measure self-management capacities. The third phase was a pilot test of the preliminary version of the instrument applied in 20 incident PD patients. Results: Three domains were identified to evaluate the fundamental components of self-management capacity: cognitive and sensory, each one evaluated with four items and motor domain evaluated with eight items. After applying the instrument, we found that 15 patients (75%) did not require support from the caregiver in any of the items. PD patients and nurses found the tool valuable, easy to understand and applicable in the early evaluation of a PD patient. Conclusions: We developed an easy-to-administer instrument to measure the self-management capacity of patients receiving PD. This inventory could locate areas that require specific support from a caregiver. Planning an individualised and focused education and training process could result in better health outcomes.

What Is Passed On (Or, Why We Need Sweetened Condensed Milk for the Soul)

2017 ◽  
Author(s):  
Brandy Liên Worrall-Soriano
Keyword(s):  
Asian American ◽  
American Studies ◽  
Asian American Studies ◽  
Non Fiction ◽  
Creative Non Fiction ◽  
The Face ◽  
Post Traumatic ◽  
American Memory ◽  
Critical Movement

Dialogically fixed to the previous chapter, “On Asian/American Memory, Illness, and Passing” engages the personal as a means of reflecting upon the political. In particular, Worrall-Soriano—whose recently published cancer memoir, What Doesn’t Kill Us (2014) has received much critical acclaim—reflects upon how the field of Asian American studies, notwithstanding its preoccupations with state-authorized conflict and trauma, has historically failed to deal with widespread stigmatizations involving illness. Worrall-Soriano maps these omissions via a creative non-fiction exploration of her familial past; such forays, which assume the form of intergenerational palimpsest, bring to light the degree to which Asian American studies remains—in the face of teleology and despite critical movement—a post-traumatic stressed engagement.

The Hero at Home: Muḥammad al-Sibāᶜī and Thomas Carlyle

2019 ◽  
pp. 114-154
Author(s):  
Maya I. Kesrouany
Keyword(s):  
Charles Dickens ◽  
The Self ◽  
Thomas Carlyle ◽  
Original Intention ◽  
Hero Worship ◽  
At Home

Chapter three focuses on the more faithful translation aesthetic of Muḥammad al-Sibā‘ī, reading specifically his 1911 rendition of Thomas Carlyle’s lectures On Heroes, Hero-worship, and the Heroic in History (1841). Challenging Carlyle’s condescending approach to the Muslim prophet, al-Sibā‘ī’s translation rewrites the differences between the Prophet’s Muḥammad’s prophecy and Shakespeare’s genius that informs Carlyle’s account. The chapter argues that al-Sibā‘ī’s translation – apart from its translator’s original intention – offers a critique of colonial liberalism by noting the contradictions in Carlyle’s “secular” readings of Islam. As such, the chapter explores this “secularity” as a critique of the self-orientalizing mode of the translators under study. It extends this critique to al-Sibā‘ī’s adaptation of Charles Dickens in 1912 and its rewriting of the complicity between realism and liberalism in the British tradition.

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