Autobiography

This conversation takes place in Warsaw. Carolyn Ellis has come to Poland to accompany Jerry Rawicki, a Warsaw Ghetto survivor, on his first trip back to Poland since the Holocaust. There she arranged to meet Marcin Kafar, a scholar in Poland who has spent time with her at the University of South Florida in Tampa, Florida. During this visit, Marcin assists Carolyn with video recording Jerry’s experiences as they visit Holocaust sites, and Jerry remembers and reflects on his experience. Afterwards, Marcin converses with Carolyn about autoethnography, storytelling, and the importance of life in the context of searching for ethos by academics.

http://www.carocci.it/index.php?option=com_carocci&Itemid=72&task=schedalibro&isbn=9788829004966

Scrivere una biografia di Dante è una sfida che molti hanno già affrontato. Mentre i documenti d’archivio relativi alla sua vita sono pochi e spesso di difficile interpretazione, la sua produzione letteraria contiene così tante informazioni di carattere personale che si potrebbe essere tentati di leggerla come un’autobiografia. Sarebbe tuttavia fuori luogo farlo. In un’originale inchiesta a quattro mani, in cui documenti e opere sono esaminati distintamente ma posti in costante dialogo, Elisa Brilli e Giuliano Milani ricostruiscono l’itinerario di un uomo che ha assistito ai grandi sconvolgimenti del suo tempo, attraversando contesti politici e culturali diversi ma interconnessi (comunale, signorile, imperiale), e insieme quello di un autore che ha tentato a più riprese di dare un senso alla sua vita attraverso la scrittura, inventando nuove forme di racconto di sé dai contenuti sempre mutevoli.

Tracey Emin has undergone an extraordinary metamorphosis from a young, unknown artist into the 'bad girl' of the Young British Art (yBA) movement, challenging the complacency of the art establishment in both her work and her life. Today she is arguably the doyenne of the British art scene and attracts more acclaim than controversy. Her work is known by a wide audience, yet rarely receives the critical attention it deserves.

In Tracey Emin: Art Into Life, writers from a range of art historical, artistic and curatorial perspectives examine how Emin's art, life and celebrity status have become inextricably intertwined. This innovative collection explores Emin's intersectional identity, including her Turkish-Cypriot heritage, ageing and sexuality, reflects on her early years as an artist, and debates issues of autobiography, self-presentation and performativity alongside the multi-media exchanges of her work and the tensions between art and craft. With its discussions of the central themes of Emin's art, attention to key works such as My Bed, and accessible theorization of her creative practice, Tracey Emin: Art into Life will interest a broad readership.

Table of contents
Introduction: The Last Great Adventure is Me
Deborah Cherry, University of the Arts London UK and Alexandra Kokoli, Middlesex University, UK

1. Rethinking Tracey Emin: Life into Art
Mark Durden, University of South Wales, UK

2. 'It was just me, Tracey': Strategies of Self-Presentation in the Art of Tracey Emin
Camilla Jalving, National Gallery of Denmark, Denmark

3. A Black Cat Crossed My Path
Glenn Adamson, Yale Center for British Art, USA

4. Twenty Years in the Making: Tracey Emin's My Bed
Deborah Cherry, University of the Arts London UK

5. The Bonfire of the Fallacies (or is it Phalluses?)
Alexandra Kokoli, Middlesex University, UK

6. Early Emin
John White, independent, UK

7. 'I Do Not Expect to be a Mother': Non-Reproduction and Ageing in the Work of Tracey Emin
Joanne Heath, independent, UK

8. Dream and Diaspora: Tracey Emin's Turkish Cypriot Legacy
Alev Adil, indepedent, UK

9. All at Sea: Bad Girls, Hut Myths and Tracey Emin's 'Property by the Sea'
Gill Perry, Open University, UK

Reviews
“Tracey Emin - artist, public figure, legend - remains divisive. In the first significant new scholarship on Emin in a decade, Tracey Emin: Art Into Life treats readers to a collection of critical essays that probes the reaches of her layered performances of identities. With both her enduring provocations and artistic preoccupations analysed here, this volume offers critical insights into Emin's continuing significance to art today.” –  August Davis, Associate Professor of Contemporary Art History, University of Texas at Arlington, USA

ISBN: 9781350160606

Głównym celem tej książki jest analiza współczesnych obrazów komunizmu i PRL-u oraz szeroko pojętej pragmatyki i skomplikowanej semantyki tych terminów w dziełach literackich, filmowych, tekstach publicystycznych, eseistycznych, biograficznych i naukowych oraz w artefaktach powstałych po 1989 roku. Komunizm, a właściwie jego współczesne tekstualizacje, jest więc traktowany jako praktyka kulturowa, której wymiar dyskursywny zdaje się nierozerwalnie związany ze społecznym.

The reading and teaching of Karukku (2000) permits the interrogation of conventional orthodoxies through critical contraventions. Karukku offers a complex and enriching possibility since in itself it deals with Bama’s reformulation of pedagogic practices within the convent. Paulo Freire in Pedagogy of the Oppressed (1970) looks at pedagogy as political, interventionist and performative. Bama’s experience as a teacher shows pedagogy to be always-already implicated in one’s social situatedness. Bama’s experience as a teacher “teaches” her of the sordid relationship between capital (market economy) and cultural capital (ideological economy of knowledge production). The teacher’s irredeemably personal experience becomes “politicised” as it delegitimizes and unsettles particular forms of knowledge. I see Bama as a Freirean pedagogue whose pedagogy is humane, caste sensitive, personalised and remedial. I would like to see Bama’s radical pedagogy as a recuperative and revisionist one; it becomes a hermeneutic of exclusion.
Keywords: pedagogy, hermeneutics, ideological, discursive, instrumentality