Journal Articles
Permanent URI for this collectionhttps://mro.massey.ac.nz/handle/10179/7915
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Item “'In America?’: Children, Violence and Commodification in Stephen King’s The Institute”(Liverpool University Press, 2021) Mercer EItem Addicted to Talk: Newspaper representation of the female speaking subject(University of Nottingham, 30/10/2011) Fisher AJThe study presented here aims to contribute to current understandings of the ways in which print and online news media are implicated in sustaining dominant gender and language ideologies (Cameron 2003) and the discourses in which these are realized, while marginalizing others. To this end, the study interrogates an archive of newspaper articles gathered over a 32 month period between 2006 and 2008, in which language and gender discourses are implicitly or explicitly invoked. Taking an innovative mixed-methodological approach, the study combines quantitative and qualitative analyses, the former seeking to identify those assumptions about gender and talk that are most frequently observed in the dataset, the latter providing some insight into the linguistic and discursive mechanisms implicated both in generating and maintaining dominant gender discourses, and in the discursive construction of women and men as speaking subjects. The qualitative component is itself multimodal, comprising firstly an intertextual analysis of media representations of talk attributed to gendered voices, and secondly a consideration of the transitivity choices evident in the texts examined. Analysis draws on the work of Foucault and developments in critical discourse analysis in considering the significance of the representational practices observed as both ideological and discursive phenomena. Finally, the study considers the import of such practices as a form of surveillance that is targeted specifically at women, and that serves ultimately to legitimate and sustain conditions of patriarchy.Item Shameful sins: a Reaction to Capitalist Ethics in No quiero quedarme sola y vacía (2006)(Purdue University Press, 14/12/2018) Bortolotto M; Chen, F-JIn her article “A Sinful Reaction to Capitalist Ethics in No quiero quedarme sola y vacía (2006)” María Celina Bortolotto analyzes how Lozada’s characterization of the main character, La Loca, questions the ideals of free agency offered by consumerist capitalism and the urban gay male ideal under the promise of a liberating gay lifestyle in a social context defined by identity politics. The novel is a fictionalized autobiographical account of Puerto Rican author Angel Lozada’s misadventures in the early 2000s gay scene in New York. This essay plays with the punitive sense of the word “capital” in the seven capital sins as a thematic thread to invite a reflection on the concepts of virtue and value constructed under U.S. Protestant capitalism: the former as emancipatory guilt; the latter as the specific status society grants to objects, practices and people creating, in turn, subjects whose value is purely economic versus those whose lives are deemed (morally) valuable in themselves.Item Capital, dialogue and community engagement - 'My Little Pony: Friendship is Magic' understood as an alternate reality game(Organization for Transformative Works, 15/09/2013) Veale KRThe experience of engaging with the television show 'My Little Pony: Friendship Is Magic' is structurally and affectively analogous to the experience of an alternate reality game. The community presents multiple tiers of engagement in which individual contributions can be recognized; the creators of the show include material with the specific intent that it be taken up by the community but without any control of the way in which it is used, and material created by the community is folded into the text by the creators in a dialogue. The context of the cocreative dialogue that surrounds the show and its community is a good example of both what Paul Booth identifies as a digi-gratis economy and the forensic fandom used by Jason Mittell to understand community engagement and response to 'Lost.'Item The Haze of the Shoah. Exilic Condition in the Work of Anna Langfus (1920-1966)(John Wiley and Sons Ltd, 2023-06) Grenaudier-Klijn F; Sauerberg, LO; Benne, C; Svend, EL; Kluge, S; Rosendahl Thomsen, MWhen Holocaust survivor Anna Langfus (1920–1966) left Poland for France in 1946, she broke all ties with her home country. French became her language of choice for the three novels she published between 1960 and 1965, and she never used Polish at home nor taught it to her only daughter. Yet, in a contribution to a volume on Chopin published a few months before her death, she had the famous composer cry out: ‘I do not want to die in this country. […] No, not here. But at home, in my home, the only home I ever owned, my parents' home. A home I shall never see again; a country I have abandoned.’ Drawing on the work of Julia Kristeva (abjection) and Dominick LaCapra (empathic unsettlement) I explore representations of exile in Langfus's fiction in three respects: the incommunicability of the Shoah and the ensuing exilic condition of the Holocaust survivor (exile from others); the fragmentation/dislocation of the narrator's body as expression of the survivor's existential anguish (exile from self); the fleeting solace offered by creative fiction and the connection established with readers (suspension of exile). Throughout this discussion, I will be guided by the motif of the fog, which features strongly in Langfus's Chopin text.Item Braiding Time: Sami Temporalities for Indigenous Justice(Taylor and Francis Group LLC, 2021-07-12) Buhre F; Bjork CIn Indigenous/settler relations, temporal rhetoric functions as an essential tool for both subjugation and resistance. Much scholarship on these temporalities focuses on Turtle Island and is thus implicitly shaped by a seminal historical event: the arrival of European colonizers. We extend this research by turning to Sweden, where the Indigenous Sami and the Scandinavians, who would later become their colonizers, have a long history of continuous interaction. We analyze a pamphlet written by Elsa Laula, the leader of the Sami civil rights movement in early twentieth-century Sweden, as well as Swedish policies and press documents from the time. While the settler Swedes employ similar techniques of temporal othering and erasure as colonizers on Turtle Island, Laula’s rhetoric differs subtly. Her rhetoric enacts resistance by highlighting how Sami temporalities are braided with Swedish temporalities, a rhetorical move that echoes their intertwined histories.Item Perfect Performance for export: shame, narcissism and contaminated ideals in Santos-Febres' Sirena Selena (2000)(University of Miami, 2020-12) Bortolotto MCIn her first novel, situated in “this soup of islands stewed in hunger and the desire to be someone else” (Sirena Selena 211), Santos-Febres explores the world of transvestites and young male prostitutes following the trajectory of a new star, bolero-singer and seductive diva “Sirena Selena,” from the streets of San Juan, Puerto Rico, to rich audiences in the Dominican Republic. The novel shows feminine characters that resist shame and humiliation by narcissistically focusing on themselves as a means of survival, adhering each to different rigid ideals of femininity permeated by normative systems of value focusing on appearance, financial solvency or ambiguous desire. Their tactics are deployed against a background where the social geography of the islands appears hierarchically ordered with Haiti at the bottom, the Dominican Republic and Cuba in the middle, and Puerto Rico at the top. The novel alludes to the social/political/economic hierarchies that organize migrations among islands in the Caribbean, always against the powerful backdrop of the United States. Sex tourism is recreated as a profitable industry that relaxes strict machista prejudices and allows for sexual experimentation of those who pay and some degree of social mobility of those whose bodies are for hire.Item The Lonesome Death of Bridget Furey, or: Pessoa Down Under(The New Zealand Electronic Poetry Centre, 12/11/2019) Edmond M; Leggott M; Ross J; Edmund, MIt is arguable that Fernando Pessoa (1888-1935), Portugal’s most celebrated modern poet and writer – also a dedicated Anglophile, who published his first four books (of a lifetime total of five) in English rather than his native Portuguese – has had even more influence on English-speaking prose-writers than on poets. This is certainly the case in New Zealand and Australia, where a number of essayists and fictionistas have taken inspiration from Pessoa’s concept of the heteronym, or alternate identity (of which he clocked up a lifetime total of at least 81 – including pseudonyms; autonyms; orthonyms; characters; semi, para, pre, proto and full heteronyms), and more specifically from his posthumous Book of Disquiet, available now in numerous overlapping translations, each (allegedly) more ‘complete’ and ‘definitive’ than the last. Writers such as Martin Edmond (Ghost Who Writes, 2004), Bridget Furey (‘Brag Art’, 1997), Michele Leggott (Journey to Portugal, 2007), Gerard Murnane (The Plains, 1982), Mark Young (Genji Monogatari, 2010), and numerous others have conducted literary experiments here in antipodean alteriority, many of them under the same astrological and occultist promptings as Pessoa himself. In this paper I hope to offer a brief account of the slippery overlapping realm of ‘truth / fiction’ many of these works appear to aspire to inhabit.Item Resisting Temporal Regimes, Imagining Just Temporalities(Taylor and Francis Group LLC, 2021-07-12) Bjork C; Buhre FItem Historias de patitos feos: humor, vergüenza, narcisismo y oralidad en La traición de Rita Hayworth (1968) y La patografía (1998) Ugly Duckling Tales: Humour, Shame, Narcissism and Orality in La traición de Rita Hayworth (1968) and La patografía (1998)(Pontificia Universidad Catolica de Chile, 15/08/2017) Bortolotto MCInformed by philosophy and psychoanalytical theory, this analysis proposes that Puig and Lozada adopt a humoristic attitude in both novels and experiment with polyphony and orality to define what I call “loca” writing. This narcissistic oral writing adheres to the aesthetics of kitsch and camp to recreate the liminal “surface” of humour (Deleuze 1969) as a rhetorical and philosophical tool to transcend shame and resist normalization with original voices and spaces.
