The Mocking Mermaid: Maps And Mapping In Kenneth Slessor’s Poetic Sequence The Atlas, Part Four

2015 ◽  
pp. 22-53
Author(s):  
Adele J. Haft
Keyword(s):  
Creative Process ◽  
Full Scale ◽  
The Other ◽  
The World

Midway through composing his five-poem sequence The Atlas (ca. 1930), the acclaimed Australian poet Kenneth Slessor suddenly wrote “Southerne Sea” in his poetry journal. He’d just chosen John Speed’s famous double-hemisphere map, A New and Accurat Map of the World (1651/1676), as the epithet of his fourth poem “Mermaids.” Unlike the cartographic epigraphs introducing the other poems, however, this map has little to do with “Mermaids,” which is a riotous romp through seas of fantastic creatures, and a paean to the maps that gave such creatures immortality. The map features a vast “Southerne Unknowne Land,” but no mythical beasts. And while it names “Southerne Sea” and “Mar del Zur,” neither “Mermaids” nor The Atlas mentions Australia or the Southern Sea. Moreover, Slessor’s sailors are “staring from maps in sweet and poisoned places,” yet what the poem describes are “portulano maps,” replete with compass roses and rhumb lines—features notably absent on A New and Accurat Map of the World. My paper, the fifth part of the first full-scale examination of Slessor’s ambitious but poorly understood sequence, retraces his creative process to reveal why he chose the so-called Speed map. In the process, it extricates the poem from what Slessor originally called “Lost Lands Mermaids” in his journal, details his debt to the ephemeral map catalogue in which he discovered his epigraph, and, finally, offers alternative cartographic representations for “Mermaids.” Among them, Norman Lindsay’s delightful frontispiece for Cuckooz Contrey (1932), the collection in which The Atlas debuted as the opening sequence. 

Listening for the Pictures

Resonance ◽  
2021 ◽  
Vol 2 (2) ◽  
pp. 182-191
Author(s):  
D. Michael Cheers
Keyword(s):  
Civil Rights ◽  
Creative Process ◽  
Cape Town ◽  
The Other ◽  
Pulitzer Prize ◽  
Civil Rights Era ◽  
Nelson Mandela ◽  
The World ◽  
The Moment ◽  
The Many

This essay is inspired by the words of Pulitzer Prize–winning Chicago Sun Times photographer John White, who once told me to “listen for the pictures.” His message rang clear but never more so than when in 1990 we were covering the release of Nelson Mandela in Cape Town, South Africa. The Cape Town scene was alive and filled with so much vibrance. I was keenly aware that I must not just look, but I must listen, and use all my God-given senses to take it in. I can only describe the moment I started listening to the layer of sound, which was my own clicking camera superimposed on the chorus of sounds that surrounded me as both meta and sonorific. There was a certain rhythm to the sensation I felt in being one with my camera. It transported me to a wonderful place in time where visuals and cadences danced together. I realized there was alchemy in this and in all the other moments and locations I had spent behind a camera developing and exercising that “inner ear” my ancestors, some gone, like Gordon Parks, but others here, like White, taught me to revere. This essay is a snapshot of some of those moments—a proof sheet, if you will—from a life that began, as did the civil rights era, with instances of terror and triumph. This essay chronicles my journey as a young photographer and the many influences that shaped my creative process and eventually my worldview. This essay is an invitation to travel with me through time and see life as my camera and I witnessed it, and to hear and sense the world as I do.

scholarly journals The duality of a pastry chef's creative process

2019 ◽  
Vol 2 (1) ◽  
pp. 21-29 ◽  
Author(s):  
Kai-Sean Lee ◽  
Denise Blum ◽  
Li Miao ◽  
Stacy R Tomas
Keyword(s):  
Identity Formation ◽  
Creative Process ◽  
The Other ◽  
The World

This study focuses on elite Malaysian pastry chefs who have participated in the World Pastry Cup. It poses the question, “How do World Pastry Cup chefs experience the creative process?” Specifically, this study explored the rhetoric (identity formation) of pastry chefs during the creative process. Findings show that pastry chefs bounce between two distinct rhetorics during the creative process, ‘the scientist’ and ‘the artist.’ This identity interchange is presented as a ‘duality,’ as one’s way of being revolves around detailed experimentations and rationalism (the scientist), whilst the other around poetry and artistic intent (the artist).

scholarly journals John Ogilby, Post-Roads, and the “Unmapped Savanna of Dumb Shades”: Maps and Mapping in Kenneth Slessor’s Poetic Sequence The Atlas, Part Two

2012 ◽  
pp. 27-66
Author(s):  
Adele Haft
Keyword(s):  
Seventeenth Century ◽  
Creative Process ◽  
Full Scale ◽  
The Other ◽  
Central Character ◽  
Place Names ◽  
England And Wales ◽  
British Publisher

Written by the acclaimed Australian poet Kenneth Slessor, “Post-roads” is the second poem of his sequence The Atlas and of his collection Cuckooz Contrey (1932), in which it debuted. Like the other four Atlas poems, “Post-roads” begins with a quote from a prominent seventeenth-century map-maker; in this case, John Ogilby (1600–1676)—the celebrated British publisher, surveyor, and cartographer. Slessor not only transformed Ogilby’s work (and portrait) into poetic images, but made Ogilby’s “tireless ghost” the central character of his poem. This article, part of the first full-scale examination of Slessor’s ambitious but poorly understood sequence, begins by reproducing the poem and tracing the poem’s development in Slessor’s poetry notebook. To reconstruct his creative process, it details the poet’s debt to the ephemeral catalogue of atlases and maps in which he discovered his title, epigraph, central character, and a possible source for the colorfully named coaches and carriages that conveyed passengers not only throughout London and Britain beginning in the early seventeenth century, but also throughout Australia from around 1800 to 1920. After comparing poet and cartographer, we consider the poem’s relationship to two of Ogilby’s atlases: the monumental Britannia (1675) and the posthumous, if far more accessible Traveller’s Guide (1699, 1712). Both reveal how Ogilby—even from the grave—helped passengers like the poem’s “yawning Fares” trace their routes. Finally, after offering reasons for Slessor’s choice of “Guildford” out of all the place-names along the roads through England and Wales, and proposing literary inspirations for “Post-roads,” the paper returns to Slessor’s hero/artist.

Models for Design

2016 ◽  
pp. 825-855 ◽  
Author(s):  
Michele Calvano
Keyword(s):  
Product Design ◽  
Design Process ◽  
Creative Process ◽  
Full Scale ◽  
Physical Models ◽  
The Other ◽  
Digital Model ◽  
Product Design Process

In this chapter, geometrical algorithms are illustrated to resolve problems present in the creative process when designing a product. If it is explicit and automated, the algorithm can serve as a useful tool during the product design process. The objective is to simplify the step between the digital and physical models and vice versa, which is typically a necessary alternation when creating products. Two important operational areas are illustrated. One is related to digitally representing the product. The other deals with resolving the continuous comparison between the digital and real models. The need to compare the two models is due to the designer's need to construct full-scale prototypes. It is important to maintain these initial physical prefigurations of the idea because they may be modified and can inform the continuously evolving digital model.

Indonesian Literature’s Position in World Literature

TEKNOSASTIK ◽  
2018 ◽  
Vol 14 (2) ◽  
pp. 1
Author(s):  
Dina Amelia
Keyword(s):  
World Literature ◽  
The Other ◽  
National Literature ◽  
Western World ◽  
The World ◽  
The One ◽  
The Voice

There are two most inevitable issues on national literature, in this case Indonesian literature. First is the translation and the second is the standard of world literature. Can one speak for the other as a representative? Why is this representation matter? Does translation embody the voice of the represented? Without translation Indonesian literature cannot gain its recognition in world literature, yet, translation conveys the voice of other. In the case of production, publication, or distribution of Indonesian Literature to the world, translation works can be very beneficial. The position of Indonesian literature is as a part of world literature. The concept that the Western world should be the one who represent the subaltern can be overcome as long as the subaltern performs as the active speaker. If the subaltern remains silent then it means it allows the “representation” by the Western.

Experiment role in the world music (based on the «The Road» album of the Ukrainian «Dakha Brakha» band)

2018 ◽  
pp. 215-227
Author(s):  
Iia Fedorova
Keyword(s):  
Folk Music ◽  
World Music ◽  
The Other ◽  
Modern Music ◽  
Musical Practice ◽  
The Road ◽  
Music Practice ◽  
The World ◽  
Binary Oppositions ◽  
Musical Practices

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

Does Literature Matter Today? Thoughts of the Outside

CounterText ◽  
2018 ◽  
Vol 4 (1) ◽  
pp. 98-113
Author(s):  
Shaobo Xie
Keyword(s):  
Aesthetic Education ◽  
The Other ◽  
Human Values ◽  
Literary Texts ◽  
Lost Cause ◽  
Western Tradition ◽  
The World

The paper celebrates the publication of Ranjan Ghosh and J. Hillis Miller's Thinking Literature across Continents as a significant event in the age of neoliberalism. It argues that, in spite of the different premises and the resulting interpretative procedures respectively championed by the two co-authors, both of them anchor their readings of literary texts in a concept of literature that is diametrically opposed to neoliberal rationality, and both impassionedly safeguard human values and experiences that resist the technologisation and marketisation of the humanities and aesthetic education. While Ghosh's readings of literature offer lightning flashes of thought from the outside of the Western tradition, signalling a new culture of reading as well as a new manner of appreciation of the other, Miller dedicatedly speaks and thinks against the hegemony of neoliberal reason, opening our eyes to the kind of change our teaching or reading of literature can trigger in the world, and the role aesthetic education should and can play at a time when the humanities are considered ‘a lost cause’.

Simone de Beauvoir's Philosophy of Individuation

2017 ◽  
Author(s):  
Laura Hengehold
Keyword(s):  
Lived Experience ◽  
20Th Century ◽  
Sexual Difference ◽  
Gilles Deleuze ◽  
The Other ◽  
Simone De Beauvoir ◽  
Second Sex ◽  
Other Hand ◽  
The World

Most studies of Simone de Beauvoir situate her with respect to Hegel and the tradition of 20th-century phenomenology begun by Husserl, Heidegger, and Merleau-Ponty. This book analyzes The Second Sex in light of the concepts of becoming, problematization, and the Other found in Gilles Deleuze. Reading Beauvoir through a Deleuzian lens allows more emphasis to be placed on Beauvoir's early interest in Bergson and Leibniz, and on the individuation of consciousness, a puzzle of continuing interest to both phenomenologists and Deleuzians. By engaging with the philosophical issues in her novels and student diaries, this book rethinks Beauvoir’s focus on recognition in The Second Sex in terms of women’s struggle to individuate themselves despite sexist forms of representation. It shows how specific forms of women’s “lived experience” can be understood as the result of habits conforming to and resisting this sexist “sense.” Later feminists put forward important criticisms regarding Beauvoir’s claims not to be a philosopher, as well as the value of sexual difference and the supposedly Eurocentric universalism of her thought. Deleuzians, on the other hand, might well object to her ideas about recognition. This book attempts to address those criticisms, while challenging the historicist assumptions behind many efforts to establish Beauvoir’s significance as a philosopher and feminist thinker. As a result, readers can establish a productive relationship between Beauvoir’s “problems” and those of women around the world who read her work under very different circumstances.

Modernism, Empiricism, and Rationalism

2016 ◽  
Vol 46 (1) ◽  
pp. 38-47
Author(s):  
Geoffrey Squires
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Modern Poetry ◽  
Philosophical Perspective ◽  
Irish Poetry ◽  
Dimensional Spectrum ◽  
Culture History ◽  
The World ◽  
The Impact ◽  
Rule Out

Modernism is usually defined historically as the composite movement at the beginning of the twentieth century which led to a radical break with what had gone before in literature and the other arts. Given the problems of the continuing use of the concept to cover subsequent writing, this essay proposes an alternative, philosophical perspective which explores the impact of rationalism (what we bring to the world) on the prevailing empiricism (what we take from the world) of modern poetry, which leads to a concern with consciousness rather than experience. This in turn involves a re-conceptualisation of the lyric or narrative I, of language itself as a phenomenon, and of other poetic themes such as nature, culture, history, and art. Against the background of the dominant empiricism of modern Irish poetry as presented in Crotty's anthology, the essay explores these ideas in terms of a small number of poets who may be considered modernist in various ways. This does not rule out modernist elements in some other poets and the initial distinction between a poetics of experience and one of consciousness is better seen as a multi-dimensional spectrum that requires further, more detailed analysis than is possible here.

The World after the End of the World

2017 ◽  
Vol 39 (2) ◽  
pp. 265-276 ◽  
Author(s):  
Kas Saghafi
Keyword(s):  
The Other ◽  
The World ◽  
History Of ◽  
The Absolute ◽  
End Of The World

In several late texts, Derrida meditated on Paul Celan's poem ‘Grosse, Glühende Wölbung’, in which the departure of the world is announced. Delving into the ‘origin’ and ‘history’ of the ‘conception’ of the world, this paper suggests that, for Derrida, the end of the world is determined by and from death—the death of the other. The death of the other marks, each and every time, the absolute end of the world.

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