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Articles 1 - 5 of 5
Full-Text Articles in Arts and Humanities
Quiet Catastrophe: Robert Smithson’S Spiral Jetty, Vanished, Clark Lunberry
Quiet Catastrophe: Robert Smithson’S Spiral Jetty, Vanished, Clark Lunberry
Clark Lunberry
Maps to Nowhere: Seen from above, Robert Smithson's Spiral Jetty emerges dramatically from the rocky shores of Utah's Great Salt Lake. Like a swirling vortex steadied and then stilled, the earthwork begins as a straight line of stone extending far into the water, the form then curving, arching and coiling in upon itself until abruptly coming to an end. Rocks and boulders are seen in various shapes and sizes, with brown soil packed and flattened within the spiral, making a broad path that one might walk upon. The water washes upon the earthwork's shaped shores, surrounding and filling it, a …
Mining And Civilization, Fathi Habashi
Mining And Civilization, Fathi Habashi
Fathi Habashi
Exploring Gloria Anzaldúa’S Methodology In Borderlands/La Frontera—The New Mestiza, Jorge Capetillo-Ponce
Exploring Gloria Anzaldúa’S Methodology In Borderlands/La Frontera—The New Mestiza, Jorge Capetillo-Ponce
Jorge Capetillo-Ponce
Gloria Anzaldúa's Borderlands/La Frontera--The New Mestiza does not fit into the usual critical categories simply because she follows inclination of interest, as opposed to working at achieving systematization. Not only does she shift continually from analysis to meditation, and refuse to recognize disciplinary barriers, but she speaks poetically even when dealing with cultural, political, and social issues. Indeed her method, like Simmel's, is more akin to "style" in art than it is to "analysis" or "inquiry" in the social sciences. A critic proclaims her/his own incompetence, however, if the mere fact that a text has a certain interdisciplinary quality scares …
Creative Work, Annadora Khan
Cultivating Perception: Phenomenological Encounters With Artworks, Helen A. Fielding
Cultivating Perception: Phenomenological Encounters With Artworks, Helen A. Fielding
Helen A Fielding
Phenomenally strong artworks have the potential to anchor us in the world and to cultivate our perception. For the most part, we barely notice the world around us, as we are too often elsewhere, texting, coordinating schedules, planning ahead, navigating what needs to be done. This is the level of our age that shapes the ways we encounter the world and others. In such a world it is no wonder we no longer trust our senses. But as feminists have long argued, grounding our thinking in embodied experience opens it up to difference and helps us to resist the colonization …