Cuando el miedo invade la ficción. Análisis de Perdidos (Lost) y de otros quality dramas de la era Post 11S.

521 p.

Thelma and Disease : Susan Gilman's Undress Me in the Temple of Heaven [A Review]

In the nineteenth century, when female travel narratives of miss(adventure) were still read as excursions rather than expeditions, it was common for women travellers to preface their writing with an apology or admission of guilt—a type of disclaimer that excused the author for engaging in such inappropriate activity and bothering the reader with their trivial endeavours. Susan Gilman’s Undress Me in the Temple of Heaven offers no such thing. Instead Gilman begins her memoir with a confession about its lack of lies, half-truth and spin. ‘This is a true story,’ she writes, ‘recounted as accurate as possible and corroborated by notes I took at the time and by others who were present.’

Susan Carson in conversation with Donna Lee Brien on research higher degree examination administration

This paper is the edited transcript of a conversation between Susan Carson and Donna Lee Brien about an administrator’s perspective of the process of examining doctoral theses in the creative industries. Susan was central to the process in the Faculty of Creative Industries from 2008 to 2012, and has overseen the carriage of examination for creative arts theses in the creative industries disciplines of creative writing, performance studies, media and communication, journalism, film and television, visual arts, and interaction and visual design.

Patrick and Susan Matthiesen playing chess at Aenny Catzenstein nee Gottschalk's 80th birthday; London Portraits Family

Digital Image

Patrick and Susan Matthiesen playing chess at Aenny Catzenstein nee Gottschalk's 80th birthday; London Portraits Family

Digital Image

School group class portrait including Susan (Susi) Ehrlich; Ulm Portraits; Groups

(l-r): Ruth Altman, Irene Hirsch, Hilde Dannhauser, Suse Barth, Anneliese Hirsch, Suse Saenger, Esther Nathan, Hannelore Baer, Heinz Koerner, Ruth Bauland, Marianne Leiter, Heinz Krippel, Hanna Ullmann, Edith Weil, Otto Eckstein, Susi Ehrlich, Hans Klein, Julie Klappholz, Hanna Chose, Minna Hirsch and Rudolf Loewy

"I have nothing to say, only to show": appropriation in the poetries of Trevor Joyce, Alan Halsey, and Susan Howe

This thesis studies contemporary poetry’s innovations in textual borrowing and the range and scope of its appropriative practices. The restrictions of the inherited definitions of appropriation include a limited capacity for expression and meaningfulness, a partial concept of appropriation’s critical capacity, and an inadequate sense of the poet’s individual and unique practice of appropriation. This thesis resolves the problematic constraints limiting contemporary definitions of appropriation by tracing the history of the practice to reveal an enduring relation between appropriation and poetic expression. Close readings of Trevor Joyce’s, Alan Halsey’s, and Susan Howe’s poetry serve as evidence of contemporary poetry’s development of appropriation beyond the current ascriptions and offer some direction on how the critical understanding of appropriation might be extended and redefined. Here, appropriation is recognized as another source of lyric expression, critical innovation, and conceptual development in contemporary poetry. This thesis encourages a new perspective on the purpose and processes of poetic appropriation and the consequences of its declarative potential for both poet and poem.