scholarly journals ESKE, NATURLIGVIS! Om økopoesi og naturerotik i Eske K. Mathiesens økoerotiske lyrik

2013 ◽  
Vol 28 (70) ◽  
Author(s):  
Martin Gregersen ◽  
Tobias Skiveren
Keyword(s):  
Literary History ◽  
Close Attention ◽  
Erotic Poetry ◽  
Current Climate ◽  
The One ◽  
Climate Crisis

Martin Gregersen & Tobias Skiveren: “ESKE, NATURALLY! On Ecopoetry and Eroticism of Nature in the Ecoerotic Poetry of Eske K. Mathiesen”Within Danish literary history, the works of Eske K. Mathiesen have long been flying under the radar. This neglect is possibly due to the fact that the close attention to nature and immediate environment displayed in these writings is generally conceived as anachronistic when contextualized within a hypermodern, technological, and globalized age, such as the one we are currently part of. However, the current climate crisis changes this. Looking through the optics of ecocritisicm, this article examines the view on nature in the lyrical work of Eske K. Mathiesen in relation to existing categories of literary history. By various readings of representative poems, this article argues that his work distinguishes itself by viewing nature through the eyes of both ecology and erotics. In other words, the lyrical work of Eske K. Mathiesen can be categorized as both eco- and erotic poetry, however, as this article suggests, it is more accurate to fuse the two and employ a concept of ecoerotic poetry.

The Center of the World

2018 ◽  
Author(s):  
June Howard
Keyword(s):  
United States ◽  
Literary History ◽  
World Literature ◽  
The United States ◽  
Local Color ◽  
American Literary History ◽  
The World ◽  
Literary Regionalism ◽  
Multiple Media ◽  
The One

The Center of the World: Regional Writing and the Puzzles of Place-Time is a study of literary regionalism. It focuses on but is not limited to fiction in the United States, also considering the place of the genre in world literature. It argues that regional writing shapes ways of imagining not only the neighborhood, the province, and nation, but also the world. It argues that thinking about place always entails imagining time. It demonstrates the importance of the figure of the schoolteacher and the one-room schoolhouse in local color writing and subsequent place-focused writing. These representations embody the contested relation between localities and the knowledge they produce, and books that carry metropolitan and cosmopolitan learning, in modernity. The book undertakes analysis of how concepts work across disciplines and in everyday discourse, coordinating that work with proposals for revising American literary history and close readings of particular authors’ work. Works from the nineteenth, twentieth, and twenty-first centuries are discussed, and the book’s analysis of the form is extended into multiple media.

scholarly journals SACRIFICE VS. SUSTENANCE: FOOD AS A BURIAL GOOD IN LATE PRE-IMPERIAL AND EARLY IMPERIAL CHINESE TOMBS AND ITS RELATION FUNERARY RITES

Early China ◽  
2018 ◽  
Vol 41 ◽  
pp. 179-243 ◽  
Author(s):  
Armin Selbitschka
Keyword(s):  
Human Beings ◽  
Close Attention ◽  
Burial Practices ◽  
Funerary Rituals ◽  
Imperial China ◽  
Food And Drink ◽  
Nuanced Understanding ◽  
Funerary Rites ◽  
The One ◽  
The Ancient Chinese

AbstractOne of the medical manuscripts recovered from Tomb No. 3 at Mawangdui (dated 186 b.c.e.) states that, “When a person is born there are two things that need not to be learned: the first is to breathe and the second is to eat.” Of course it is true that all healthy newborn human beings possess the reflexes to breathe and eat. Yet, the implications of death should have been just as obvious to the ancient Chinese. Once the human brain ceases to function, there is no longer a biological need for oxygen and nourishment. Nevertheless, a large number of people in late pre-imperial and early imperial China insisted on burying food and drink with the dead. Most modern commentators take the deposition of food and drink as burial goods to be a rather trite phenomenon that warrants little reflection. To their minds both kinds of deposits were either intended to sustain the spirit of the deceased in the hereafter or simply a sacrifice to the spirit of the deceased. Yet, a closer look at the archaeological evidence suggests otherwise. By tracking the exact location of food and drink containers in late pre-imperial and early imperial tombs and by comprehensively analyzing inscriptions on such vessels in addition to finds of actual food, the article demonstrates that reality was more complicated than this simple either/or dichotomy. Some tombs indicate that the idea of continued sustenance coincided with occasional sacrifices. Moreover, this article will introduce evidence of a third kind of sacrifice that, so far, has gone unnoticed by scholarship. Such data confirms that sacrifices to spirits other than the one of the deceased sometimes were also part of funerary rituals. By paying close attention to food and drink as burial goods the article will put forth a more nuanced understanding of early Chinese burial practices and associated notions of the afterlife.

Théologie de la rédemption et éthique sexuelle: unité et cohérence du ‘développement’ 1 Co 5–7

2018 ◽  
Vol 64 (4) ◽  
pp. 514-531
Author(s):  
Loïc P. M. Berge
Keyword(s):  
The Other ◽  
Close Attention ◽  
Scholarly Literature ◽  
The One ◽  
Literary Unity ◽  
Original Approach ◽  
Concentric Structure

The literary status of 1 Cor 5–7 is diversely considered in scholarly literature. Sometimes these chapters are seen as a stand-alone part of the letter, sometimes they are divided in separate blocks, chapters 5–6 on the one hand and chapter 7 on the other. However, an original approach that pays close attention to the structure of the text makes it possible to show the neat architecture of this larger textual unit. The concentric structure of the three chapters (A–B–A’) highlights their literary unity and stresses the significance of the central chapter, which correspondingly possesses the greatest theological density of the whole section.

The Geological Unconscious

2020 ◽  
Author(s):  
Jason Groves
Keyword(s):  
Nineteenth Century ◽  
Cultural Studies ◽  
Literary History ◽  
German Language ◽  
Stable Point ◽  
The Earth ◽  
Current Climate ◽  
Environmental Thought ◽  
History Of ◽  
Point Of Reference

Already in the nineteenth century, German-language writers were contending with the challenge of imagining and accounting for a planet whose volatility bore little resemblance to the images of the Earth then in circulation. In The Geological Unconcious, Jason Groves traces the withdrawal of the lithosphere as a reliable setting, unobtrusive backdrop, and stable point of reference for literature written well before the current climate breakdown, let alone the technologies that could forecast those changes. Through a series of careful readings of romantic, realist, and modernist works by Tieck, Goethe, Stifter, Benjamin, and Brecht, the author traces out a geological unconscious—in other words, unthought and sometimes actively repressed geological knowledge—where it manifests in European literature and environmental thought. This inhuman horizon of reading and interpretation offers a new literary history of the Anthropocene in a period where this novel geological epoch, though arguably already underway, remains unnamed and otherwise unmarked. These close readings also unearth an entanglement of the human and the lithic in periods well before the geological turn of cotemporary cultural studies. In those depictions of human-mineral encounters on which The Geological Unconcious lingers, the minerality of the human and the minerality of the imagination becomes apparent. While The Geological Unconcious does not explicitly set out to imagine alternatives to fossil capitalism, in elaborating a range of such encounters and in registering libidinal investments in the lithosphere that extend beyond Carboniferous deposits and beyond any carbon imaginary, it points toward alternative relations with, and less destructive mobilizations of, the geologic.

When everything is NOT awesome. Aktivisme, anklager og krisen som kontekst

2017 ◽  
Vol 21 (77) ◽  
pp. 22-45
Author(s):  
Elisabeth Hoff-Clausen
Keyword(s):  
Strong Resonance ◽  
Unusual Effect ◽  
Current Climate ◽  
Emotional Appeals ◽  
Short Video ◽  
Royal Dutch Shell ◽  
Climate Crisis

In 2014 Greenpeace posted a short video appealing to Lego to end its cooperation with Royal Dutch Shell. The video raised an informal accusation and invited its audiences to support it, which more than one million people did. A reputational crisis was inflicted upon the two companies. The article discusses the rhetoric that enabled this activist success and asks to what extent the example set by Greenpeace might be worthy of imitation. It is argued that the mobilizing effect of the video cannot be explained merely by studying its spectacular form and content. The unusual effect must be seen in light of the climate crisis as an affective context that gave the emotional appeals of the video a strong resonance. It was the current climate crisis, implied in the video, which helped create a burning platform for change in the conduct of Lego and Shell

Absenteeism Management

1996 ◽  
Vol 12 (03) ◽  
pp. 194-197
Author(s):  
Blaine Lewis
Keyword(s):  
Competitive Advantage ◽  
Close Attention ◽  
The Difference ◽  
The One ◽  
Competitive Forces ◽  
A Company

The 1995 Ship Production Symposium theme of "Competitiveness" is very timely. Competitive forces for new shipbuilding work are fierce. Any factor affecting competitive advantage which is not pursued and wrestled into submission may be the one that causes a company to be defeated in the battle for survival. The factor which this paper will focus on is Absenteeism Management. The severity of the absenteeism problem for business in general is growing. In a tight market such as shipbuilding, absenteeism can be the difference that results in a company being unable to compete. Those who do not know the degree to which absenteeism affects business should pay close attention.

A Literary Chestnut: Dryden's “Cousin Swift”

PMLA ◽  
1952 ◽  
Vol 67 (7) ◽  
pp. 1024-1034
Author(s):  
Maurice Johnson
Keyword(s):  
Literary History ◽  
Family Relationship ◽  
John Dryden ◽  
Samuel Johnson ◽  
Single Sentence ◽  
The Family ◽  
Literary Histories ◽  
The One ◽  
Fictional Truth

It is hard to think of another brief quotation in English literary history so felicitous as the one attributed to John Dryden: “Cousin Swift, you will never be a poet.” Here in a single sentence the family relationship between two great writers is established; Dryden is placed as an incisive and prophetic judge of literary worth; Swift is dramatically provided with cause for turning away from his disappointing “Pindarics” to the remarkable prose connected with his name; his somewhat over-stressed “life-long” hatred for Dryden is given its impetus. And if Dryden may be considered representative of the end of the seventeenth century and Swift of the beginning of the eighteenth century in English letters, a whole new age of prose is conveniently suggested in the eight words Dryden is supposed to have uttered. Whether or not he really did utter exactly those words—and I am quite certain that he did not—makes no great difference now: it is too late to add qualifying phrases to all the biographies, critical essays, monographs, and literary histories in which Dryden's pronouncement may be read. It has assumed a quality of fictional truth that renders it more convincing and more “true” than demonstrably authentic pronouncements could be. It is like some of the equally quotable adjudications of Samuel Johnson, chestnuts from the same tree, which also seem too suspiciously apropos to have been casually voiced, though they may have been recorded verbatim. Indeed, the eight words under consideration sound much less like Dryden than like Dr. Johnson himself; but that is a matter I will refer to later on in this paper.

Thinking the Postcolonial Contemporary

2018 ◽  
pp. 1-30
Author(s):  
Jini Kim Watson ◽  
Gary Wilder
Keyword(s):  
Postcolonial Theory ◽  
The Other ◽  
The Political ◽  
Close Attention ◽  
Postcolonial Criticism ◽  
Introductory Essay ◽  
The One

To invoke the “postcolonial contemporary” is simultaneously to offer a proposition and to raise a question. It is an invitation to recognize and reflect upon the emphatically postcolonial character of the contemporary conjuncture as well as to inquire into whether postcolonial criticism can adequately grasp it. This introductory essay explores, on the one hand, how new historical situations require different analytic frameworks and, on the other, that grasping the political present requires close attention to historical continuities, repetitions, and reactivations. Neither simply for nor against postcolonialism, the volume seeks to cut across this false alternative. Our aim is to think with postcolonial theory about political contemporaneity.

Eliza Cook, New Media Innovator

2021 ◽  
pp. 53-96
Author(s):  
Alexis Easley
Keyword(s):  
Women Writers ◽  
New Media ◽  
Literary History ◽  
The Other ◽  
Popular Press ◽  
The Public ◽  
The People ◽  
Gradual Disappearance ◽  
The One

This chapter provides an in-depth examination of the career Eliza Cook. After publishing her first book, Lays of a Wild Harp, Cook submitted verse to the Weekly Dispatch and soon thereafter became its house poet. By 1847, Cook was serving as editor of the paper’s ‘facts and scraps’ column, a position that enabled her to hone her editorial skills and publish the work of fellow women writers. Cook’s masculine appearance violated the poetess norm of the period, as did her romantic partnership with American actress Charlotte Cushman, but this seemed only to enhance her image as an eccentric yet accessible poet of the people. In 1849, she parlayed this fame into the founding of her own Eliza Cook’s Journal, which initially surpassed Dickens’s Household Words in popularity. Yet as the 1840s gave way to the more conservative 1850s, Cook was frequently the target of gender-trolling attacks in the popular press, which defined her as a sexual deviant on the one hand and a second-rate poet on the other. This notoriety may have been one factor that forced her to retreat from the public eye in 1852—a move that initiated her gradual disappearance from literary history.

scholarly journals Poetic Storytelling in Contemporary Photography. Relation to Nature and the Poesis of Everyday Life in Works of Selected Artist in Iceland and Other Nordic Countries

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 129
Author(s):  
Sigrún Alba Sigurðardóttir
Keyword(s):  
Everyday Life ◽  
Nordic Countries ◽  
The Other ◽  
The Past ◽  
The World ◽  
Phenomenological Perspective ◽  
The One ◽  
Climate Crisis ◽  
The Relationship ◽  
Narrative Medium

The past 20 years have seen a shift in Icelandic photography from postmodern aesthetics towards a more phenomenological perspective that explores the relationship between subjective and affective truth on the one hand, and the outside world on the other hand. Rather than telling a story about the world as it is or as the photographer wants it to appear, the focus is on communicating with the world, and with the viewer. The photograph is seen as a creative medium that can be used to reflect how we experience and make sense of the world, or how we are and dwell in the world. In this paper, I introduce the theme of poetic storytelling in the context of contemporary photography in Iceland and other Nordic Countries. Poetic storytelling is a term I have been developing to describe a certain lyrical way to use a photograph as a narrative medium in reaction to the climate crisis and to a general lack of relation to oneself and to the world in times of increased acceleration in the society. In my article I analyze works by a few leading Icelandic photographers (Katrín Elvarsdóttir, Heiða Helgadóttir and Hallgerður Hallgrímsdóttir) and put them in context with works by artists from Denmark (Joakim Eskildsen, Christina Capetillo and Astrid Kruse Jensen), Sweden (Helene Schmitz) and Finland (Hertta Kiiski) artists within the frame of poetic storytelling. Poetic storytelling is about a way to use a photograph as a narrative medium in an attempt to grasp a reality which is neither fully objective nor subjective, but rather a bit of both.

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