A Study on the Expression of Life Force-Fluidity in “Great Rivers”

2021 ◽  
Vol 63 ◽  
pp. 215-233
Author(s):  
Don-Ill Choi
Keyword(s):  
Nature ◽  
2001 ◽  
Author(s):  
Jeremy Thomson
Keyword(s):  

Author(s):  
Alistair Fox

This chapter examines Merata Mita’s Mauri, the first fiction feature film in the world to be solely written and directed by an indigenous woman, as an example of “Fourth Cinema” – that is, a form of filmmaking that aims to create, produce, and transmit the stories of indigenous people, and in their own image – showing how Mita presents the coming-of-age story of a Māori girl who grows into an understanding of the spiritual dimension of the relationship of her people to the natural world, and to the ancestors who have preceded them. The discussion demonstrates how the film adopts storytelling procedures that reflect a distinctively Māori view of time and are designed to signify the presence of the mauri (or life force) in the Māori world.


Author(s):  
Benjamin Kingsbury

The storm came on the night of 31 October. It was a full moon, and the tides were at their peak; the great rivers of eastern Bengal were flowing high and fast to the sea. In the early hours the inhabitants of the coast and islands were overtaken by an immense wave from the Bay of Bengal — a wall of water that reached a height of 40 feet in some places. The wave swept away everything in its path, drowning around 215,000 people. At least another 100,000 died in the cholera epidemic and famine that followed. It was the worst calamity of its kind in recorded history. Such events are often described as "natural disasters." This book turns that interpretation on its head, showing that the cyclone of 1876 was not simply a "natural" event, but one shaped by all-too-human patterns of exploitation and inequality — by divisions within Bengali society, and the enormous disparities of political and economic power that characterized British rule on the subcontinent. With Bangladesh facing rising sea levels and stronger, more frequent storms, there is every reason now to revisit this terrible calamity.


2020 ◽  
Vol 8 (1) ◽  
pp. 100-114
Author(s):  
Karoline Gritzner

AbstractThis article discusses how in Howard Barker’s recent work the idea of the subject’s crisis hinges on the introduction of an impersonal or transpersonal life force that persists beyond human agency. The article considers Barker’s metaphorical treatment of the images of land and stone and their interrelationship with the human body, where the notion of subjective crisis results from an awareness of objective forces that transcend the self. In “Immense Kiss” (2018) and “Critique of Pure Feeling” (2018), the idea of crisis, whilst still dominant, seems to lose its intermittent character of singular rupture and reveals itself as a permanent force of dissolution and reification. In these plays, the evocation of nonhuman nature in the love relationships between young men and elderly women affirms the existence of something that goes beyond the individual, which Barker approaches with a late-style poetic sensibility.


2011 ◽  
Vol 140 (6) ◽  
pp. 1547-1564 ◽  
Author(s):  
Mark S. Pearson ◽  
Ted R. Angradi ◽  
David W. Bolgrien ◽  
Terri M. Jicha ◽  
Debra L. Taylor ◽  
...  

Diogenes ◽  
2006 ◽  
Vol 53 (1) ◽  
pp. 103-108
Author(s):  
Souleymane Bachir Diagne
Keyword(s):  

2010 ◽  
Vol 408 (5) ◽  
pp. 1180-1189 ◽  
Author(s):  
Karen A. Blocksom ◽  
David M. Walters ◽  
Terri M. Jicha ◽  
James M. Lazorchak ◽  
Theodore R. Angradi ◽  
...  

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