In this chapter, I give a brief insight into my PhD thesis about Visual Kei in Germany. The translocal subculture Visual Kei has its roots in Japan and is designated by a specific aesthetical practice and habitus. I ask which codes, which (body)routines (that is, which practices) the protagonists in Visual Kei incorporate to become intelligible subjects. Do or can the protagonists in their everyday practice make an emancipative claim and disrupt a heteronormative gender regime? I would argue that the critique in Visual Kei is one that is deeply inscribed in its practices - a practical critique. It is less a practice of resistance. I would rather describe it as a fractious practice against heteronormative images of bodies and gender.
Cristóbal Lozano and Amaya Mendikoetxea
The purpose of this article is to characterise the production of postverbal subjects in two ICLE subcorpora (Italian and Spanish). The question has been dealt with before in the literature with emphasis on the production of ngrammatical inversion structures in L2 English of speakers from a variety of L1s, but in quite a scattered, unsystematic and rather intuitive fashion. Our approach seeks to identify the conditions under which learners produce inverted subjects. Based on previous research findings and our review of the theoretical literature, we hypothesise that for Spanish and Italian learners of L2 English, there is a tendency for subject inversion to occur when: the verb is unaccusative (H1), the subject is long or “heavy” (H2), and the subject is new (or relatively new) information or “focus” (H3). While H1 has found confirmation in the L2 literature, H2 and H3 have, to our knowledge, been untested and the facts they describe gone unnoticed in previous research. Our results show that the three conditions are met in the writing of Spanish and Italian L2 speakers of English, despite errors in the syntactic encoding of the structures concerned. Thus, a full account of the production of inverted subjects in L2 English must look at properties which operate at (i) the lexicon-syntax interface, (ii) the syntaxphonology interface, and (iii) the syntax-discourse interface.
Encounters in the Arts and Contemporary Politics
Edited by Maria Boletsi and Tyler Sage
In this context, the collected essays explore the dispossessing effects of these figures but also their capacities for reimagining subjectivity, agency, and resistance to contemporary forms of power. Emphasizing intersections of the aesthetic and the political, these essays read canonical works alongside contemporary literature, film, art, music, and protest cultures. They interrogate the violent histories but also the subversive potentials of figures barbarous, monstrous, or wild, while illustrating the risks in affirmative resignifications or new mobilizations.
Contributors: Sophie van den Bergh, Maria Boletsi, Siebe Bluijs, Giulia Champion, Cui Chen, Tom Curran, Andries Hiskes, Tyler Sage, Cansu Soyupak, Ruby de Vos, Mareen Will
Savage, de Sade, Wainewright, Ned Kelly, Billy the Kid, Rimbaud and Genet: Base Crime and High Art in Biography and Bio-Fiction, 1744-2000
Ian H. Magedera
Christoph Schmitt-Maaß, Stefanie Stockhorst and Doohwan Ahn
Edited by Gaëtanelle Gilquin, Szilvia Papp and María Belén Díez-Bedmar
Transformations of the Body and the Influence of Ovid’s Metamorphoses on Germanic Literature of the Nineteenth and Twentieth Centuries
This chapter presents work-in-progress that investigates the positioning of the visual in recent iterations of the Australian curriculum for subject English. Much professional literature in recent years has advocated the inclusion of multiliteracies, including visual literacy, across the school subjects. This chapter attempts to explore definitions and conceptualisations of visual literacy, and argues that existing ways of ‘seeing the visual’ within secondary classroom practice are limited, as they focus on ‘visual grammar’, while neglecting the affective domain and aesthetic response. Findings derived from document analysis are presented with a view to ascertaining the ways in which the visual is constructed and positioned in the curriculum for subject English. Recommendations drawn from these findings include the development of dedicated pedagogies and assessment frameworks to support a broader and more authentic use of visual resources in secondary schooling.
Ana Lúcia de Campos Almeida
This chapter is intended to present and reflect upon data – autobiographical narratives – produced by subjects who acted as students in a research project about literacy development and teacher training. The research corpus is constituted by the literacy stories experienced by these subjects who are enrolled in a training course for Portuguese language teachers. Drawing upon authors affiliated to the New Literacy Studies, we view literacy as a set of cultural practices developed in social life, which varies in complexity and value according to its insertion in different domains of discourse and spheres of cultural activities. Thus, individuals may develop varied degrees and kinds of literacies depending on their contact with dominant/prestigious or vernacular domains of discourses along their lives. Observing and investigating the stories the subjects tell, their autobiographical narratives, we are able to see: i) how they have been constituted as readers; ii) the cultural ways written texts make meaning for them and their communities; iii) what are the main factors to influence or determine their participation in written culture on the present days. Preliminary and partial observations from data analysis have pointed out the important role of subjective/affective values, associated with cultural meanings, in the development of prestigious literacies, the ones from academic and literary domains, in the case of our research subjects.