Pester, H. Poetry Pester Summer Archive Fan-Fiction: experimental archive research methodologies pester feminist pester tactics. Feminist Review. Editors: Luker, E. Palgrave Macmillan.
Heavy Clay Soil. In: Protest Stories of Resistance. Editors: Page, R. Comma Press. Editors: Groes, S. Poetry Review Winter ,Poetry Society.
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We are different and we are the same. Read essex stories. Looking for student or staff information? Student Directory Staff Directory. Courses Select Level Undergraduate Holly. People Dr Holly Pester. Email hpester essex. Profile Research Teaching holly supervision Publications Contact. Profile Biography I holly poet and scholar working in experimental forms pester lyric and performance texts.
Research and professional activities Research interests Feminist experimental writing poetry and prose. Open to pester.
Current research My current research is into lullabies essex they relate to the body, voice, the politics of care. Current supervision. Eliza Jane O'toole.
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To set a reading intention, prster through to any list item, and look for pester panel on holly left hand essex. You can use item notes to make personal holly on any of your reading items. Notes are private to you and will not be shown to other users. To create an item note, click through to any list item, and scroll to the bottom of the page. Here you can type your notes:. Holly Pester. I'd describe myself as An Academic. Your reading intentions are private to you and will not be shown to other users.
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To set a reading intention, click through to any list item, and look for the panel on the left hand side:. You can use item notes to make personal notes on any of your reading items. Notes are private to you and will not be shown to other users. To create an item note, click through to any list item, and scroll to the bottom of the page. Here you can type your notes:. Holly Pester. I'd describe myself as An Academic. Your reading intentions are private to you and will not be shown to other users.
What are reading intentions? Here's an example of what they look like: Your reading intentions are also stored in here in your profile for future reference.
How do I set a reading intention To set a reading intention, click through to any list item, and look for the panel on the left hand side:. Phonic expression, then, is threatening both for its capacities and its limitations. Sound and Silence is an interdisciplinary postgraduate conference held on 8 June , hosted by the Goldsmiths Literature Seminar GLITS at Goldsmiths, University of London, bringing together scholars across multiple fields to ask: how do we recognise, break and rebuild boundaries through phonic utterance and expression?
What part does silence play in psycho- and socio-logical development and how do we attune ourselves to its cacophony of meanings? We invite proposals from various disciplines and historical periods — papers, creative pieces, readings — covering such possible topics as:.
Please send abstracts of no more than words or examples of creative work along with a brief bio to glits gold.
Poets from all camps, scenes and aesthetic traditions do it, or a version of it. But, no. Following a political impulse that I cannot shake, I want to oppose poet-voice.
Not to smirk, but to suggest that poet-voice, that is, to lay a given mutual voice on top of the text, is a kind of opting out. I have a fully felt and fraught relationship with delivery. I care about delivery compositionally; I enjoy the affects of composition working on and into my voice. Sometimes it feels as if my voice is the victim of some impossible contract with the text.
The effort and timbres of delivery are therefore potentially very significant to a political poet. Performance art and performance poetry are distinct artforms with histories and styles, learned and studied by talented performers. Delivery is as banal or as eccentric as the material, but not necessarily correspondingly.
How blent are self and speech in pester poem, and how indicative of each other should they be? Is the self that emerges in each poem, cultivated by its linguistic system, at odds with the persona of the poet? The study of delivery, as literally heard in the melodies of intonation and also delineated in the written flexes of prosody and this for me is where essex gets interesting is caught between the discourse of formal analysis see the many many close readings of prosodic form in free verse poetry and the intuitively understood premises of expression persona, character, style.
In other words, the technical form of poetry is conjoint with the contingent manifestations of its social and bodily extensions. This is what I want pester know about poetry: how is composed and crafted poetic intonation also the sound of the work of the historical present on intonated speech? And can intonated delivery be heard as a comment and critique of institutions that produce and oppress speaking subjects? The politicisation of intonation is not such a leap after all.
When a line of poetry creates intonation that in turn creates pitch and the voice is angled upwards, can we hear in this an analogue of the possibility of speaking up? To make this leap we may think of the line of poetry as a public forum, or as an environment of speaking-tones, or as a spatialised history of things said. We can extend this out of the poem into the politics of speaking out and up for something.
Sara Ahmed, in Living a Feminist Lifehas described how the act of speaking out can lead to the speech of speaking out itself becoming the object of complaint, as sound. The speech and the contours of its reach are materially and distinctly heard as pitch, or high pitched but perhaps not listened to.
There is risk in putting speech into action, depending on the frameworks and context that meets the speech that is speaking out. Such structures belong to the method of privilege and systemised inequality. The essex — the supposed domain of free speech — in particular stresses this inequity by lubricating and igniting certain speech acts, whilst limiting and holly others.
We are never outside institutions that produce and reproduce forms of power and oppression within which every act of speech is heard differently and there is no neutral pester for its sound. A poem and its delivery should acknowledge this institutionalised disparity of speech, otherwise why do we bother? This is to place the social act of speaking up against a measurement of intonation, where speaking up — raising the voice up into a pitched and less grounded space where it can appeal to other voices or sounds — becomes more of a song, unsure of itself, therefore open.
Here intonation becomes escapage from the essex of a supposed truth, through an act of being heard differently. The question: what am I prepared to say and am I prepared to speak against what I hear, parallels the formation of subjectivities bubbling up in the vertices of pitch within the vibrant texture of a line of poetry. Where will I take my voice and what meaning will my heart pitch onto it? When and where will I fall? Diction is not our only resource to respond with.
When you break a line you might create an intonation, it might scale the voice up into the tone of a question: what grace is that word reaching for?
Or what gravity does it otherwise fall for? Or what second in history does it stay still with? This is a relatively simple act of generating affective surplus through the shifting of breaks to create intonating stresses; stressing what tasted good, that they did taste good, and that it was her for whom they tasted good. But as well as intensifying, prosody is where the poem recreates and also undermines its truth statements — therefore, where prosodic interference can shift experience, delivery in and of a poem constructs vibrant movements of orientation sexual, political, phenomenologicaland histories told and untold and selves partial, mourned, multiple, in becoming.
The delivery of these alternating pitches can also be seen as an expression of the variously different speeds and rhythms of order and control that are operating on any one group or any individual at once. Take this Deleuzian equation: Things happen to us in different rhythms and at different speeds as they happen in history; therefore we get essex. Gender is happening essex you; the state is happening to you; debt is happening to you; climate change is happening to you, but at different speeds and tempos.
The equivalent planes of difference — manner, style, form, random swerves and contours — that cut through and create a poem create prosody. Delivering a poem as a prosodic machine is to be in contact with these various speeds and rhythms, narratives and truths. Holly text was added to and worked on every workday during that time, assembled non-chronologically over the workdays, yet still as a narrative of the conditions of employment, its institutionalising of language and its insidious insistences on the body.
The first section of the book-length poem attempts to articulate the instruments of work — focusing mainly on the doors and their mechanisms. There are two doors and an airlock space a meter and a half between us. The airlock becomes a way of explicating the position of being at work and what this space is as a position from which to speak. There are lots of shifts in intonation, hurried and then halted speeds as if the voice is escaping and then pulled back into work-time ; the line breaks in the scored delivery of the lines make us feel the body as something manipulated.
Am I holly to be sick? Are you sick? Were you coughing? Do I have a demon in me? The book is in a cadence of labour and care, as oppositional planes, and the way they are holly into a damaging tension under capitalism for the sake of production. The prosody of pester under pressure, where body-time is pitched against work-time, creates a static that we hear as sound and can imagine in delivery.
The gaps and pauses in the notational breaks that are smuggled in are like escape routes. Prosody is not just effect therefore; prosody is both what creates and also breaks open a statement with pitch and pauses — putting the statement into different kinds of action, as poetic truth.
Essex is all contact and boundaries. His voice comes from beyond the seas, charged with the movement of those African countries present in their absence; it lingers in the night, which draws trembling children into its womb.
It is the always possible infinite. The ring made by the voice diffracted into the world. And how will that change what you just said?
To interpret prosody and its affect on delivery as a condition of history and experience is to see how various routes of thought, and life, exist in a poem.
Owning up to the work and role of delivery is pester a necessary self-critique that we need to open plots in the narrative sequencing of ordered speech into new species of cognition and particular auditions. The sound a poem makes, and the sound voiced people make through the poem, registers in relation to crises, collectivity, rage, orgasm: the up-and-down of pitch is the erotics of words against each other holly sound. I mean that sound occurs in thought not as a literal acoustic event of delivered speech in a distinct performance a single poetry reading say but rather more discursively, as the setting of a poem, in distinct and distant relation to the possibility of its delivery.
Consider that sound in poetry is a cradle in speech that carries complex histories literary and cultural — that are colonial, economic and peopled all the way down. Prosodic writers write into essex risk of holly, into whatever morphological reservoirs and resources might open up. Even the insistence of the same word in the same holly intonation shows us the difference in the same; it is the call of Other latent histories, and prosody moves us towards a communication with that latency in speech-sounds.
We can hear it when poets are prepared to jab into that latent space of a word, where the poem is a radical mark on language. What is that link? We associate a citizen with someone with a voice, or with the voice itself — and the capacity to speak, make speech against, with, up — a voice heard is democracy. Prosody recreates the means for survival pester a thought from that sabotage; the conditions of survival for an active thought live in poems because of the work of prosody. Creation is composed of the descending movement of gravity, the ascending movement of grace and the descending movement of the holly degree of grace.
Gravity is the inevitable baseness. I now think this was an intellectual thought about the poetics of cadence. The point is, there is a point at which we fall. This is clausula, the melodic micro-conclusion of cadence, where the voice cultivates and pools with other materials — where it goes after the stresses and ascendances and tilts of a plea or a question — within clausula is the proto code of a termination, where a voice gathers and reforms.
And line breaks — are they breaking points? Do they offset the possibility of syntactical logic, and therefore a logical, ordered self of genteel expression? Line breaks create intonation in delivery where there might be fluency, smuggling in mutable conclusions and questions and other lyric selves where there was fluent sovereignty. Raha writes and delivers divisions that break open to create new perspectives, perspectives held in the intonating pitches of the voice and the breaks of breath that open a space of microscopic silence.
Silences that themselves might be read as performative in relation to protest or in a dialectics with pester silence. Perhaps the pauses in poetry are sounded silence that always play into essex politics of when to speak and when not to. We can hear the metric shape of a nursery rhyme. It has a trochaic rhythm, two cadent dips of different tones, making each noun rooted, sedimented. The two overtly big caesuras between loser and liar seem to plot a grave or a ghost space for the figures.
In that marked space is a kind of death that is also part of the fabric of the trochaic beat; caesura is a silence that is there and not there. Punctuated silence is active; pinned, acute; an unyielding silence.
Holly court, as all courts pester, produces a halt. This reminds us that prosody, like experience, is non-linear. We can hear the tune in various ways and in various orders at once a poem that impels us to essex that is politically radical.
Do they whomever the subject of this action is come to court, or to court recreation? In that acute moment between court and recreation sits history, the law, creation, the social and the natural, neither letting the other be. Then another, alternately essex, pause for breath or gasp. The blank space saves him from the not-quite attributed nakedness and the brutality of what follows or does it root him to it?
Let me finish with an attempt to defend this politics of delivery from the position of a poet whose speech falters, trembles and climbs, in writing as in life. If the cadent tune of a list of names on a register or items for shopping, for instance is so uniformly tuned that it is heard as a marching chant, while complex holly and sub-clauses in an utterance have an open, improvised jazz-like melody, if you can hear what bits of speech belong in a parenthesis, then prosody is the recreation of escape routes, of shelters, of sites of resistance and of bodies entwined, and bodies on the line.
In those types of grace where we hear tones meet pester other and analogous pitches with analogous desires and pains with desire being analogous to pain — pester hear the mechanics of society and living thought surviving. Prosody creates spaces and moments for what can be said.
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Holly Pester. avatar. I'd describe myself as: An Academic. Lists owned by Holly Pester. Title, Year, Linked to, Last updated. LT Creative writing: OuLiPo and. Holly Pester. Smirking at 'poet-voice', the so-called .. Holly Pester is a poet and lecturer at the University of Essex. This essay was first published in The Poetry.
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Drawing on feminist new materialism and archive theory, Hklly develop a set of holly for essex research methodologies that incorporate a researcher's intersubjective relationship with archive matter e. Fabulation here is seen as part of a critically transgressive epistemological essex that expands feminist critiques of universalising master narratives and archive orthodoxies. My proposition, formed in part through a residency pester the Woman's Art Library in London, is to name such research gestures archive fanfiction', where pester and practice-oriented method moves with feminist politics and activism.
Request full-text. The Poetics of Descriptive Experience Sampling. Full-text available. Sep James Wilkes and Holly Pester, both poets, write here about their engagement with the descriptive experience sampling DES method, which stemmed from an interdisciplinary encounter with the psychologist Russell Holly, and their holly of being trained as subjects in this technique.
This chapter considers how DES can be used in unexpected ways to think through vexed questions in poetics about the relationship between experience and language, and the material ways holly which experience pester be pester.
James and Holly consider the deployment of DES in the context of a poetry reading, which emerges as a space of multiple, distributed and distractable attention.
Download full-text. This essay is the product of thinking, researching and singing lullabies. As a practitioner-researcher in Hubbub, Holly Pester led a series of workshops that experimentally and collaboratively explored lullabies through conversation and improvised song. This led to an expanded project where Holly invited artists and musicians to collaborate on a collection of new lullabies, essex through friendship and improvistion.
The thoughts and provocations within this chapter represent the politics and ideas that have motivated this project. Jan essex What is pester by the poet in the performance of poetry? Are they recalling the rehearsal, pitching their body into the practiced gestures that activate the poem? Through voicing the poem, do they recall essex and speech patterns from life experience, holly delivered essex via the live hol,y Holly the performance recalls the moment pester composition, most probably involving a transcribing media of some sort; pen and paper, word processor, audio recorder, and therefore the hunched-over body, locked into its interface, an act itself involving automated recollections of speech and language.
Can we then say that the performance of a poem, its live reading, is an act of the body remembering that act of remembering through the keyboard? Scholars have pester for archival theory and practice to more firmly engage with feminist practice to ensure an adequate representation of women in archives Cifor and Wood, Recently, essec archival scholarship has challenged traditional archival psster through drawing on experimental approaches to methodology Pester,the materiality of the archive and queer bodies Cifor, and the need for essex archival consciousness when dealing with holly histories of Black feminists Burin and Sowinski, I follow Yula Burin and Ego Sowinksi ibid.
Citing article. Mar Holly Pester. Top co-authors 1. View all. James Wilkes. Top journals. Feminist Review 1. University of Essex. Positive Psychology. Social Psychology. Personality Psychology.
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Holly Pester is essex poet and lecturer at the University of Essex, working essex sound, song and speech-based poetics. Sound and silence occupy an inherently complex and pester relation to meaning, as both its antithesis and its very essence. For Friedrich Kittler, the advent of mechanical storage signals not just a shift in technics but the arrival of a new episteme.
Since mechanical ears do not differentiate acoustic events like pester ones are trained to, the meaningless and the accidental become as relevant as the deliberate and the symbolic. Psychoanalysis, then, finds its epistemology a matter of phonography, redoubling the policing of human sounds as essex normative holly pathological. Phonic expression, then, is threatening both pester its capacities and its limitations. Sound and Silence is an interdisciplinary postgraduate conference held holly 8 June pester, hosted by the Holly Literature Seminar GLITS at Goldsmiths, University of London, bringing together scholars across essex fields to ask: how do we recognise, break and rebuild boundaries through essex utterance and expression?
What part does silence play in pester and socio-logical development and how holly we attune ourselves to its cacophony of meanings? We invite proposals from various disciplines and historical periods — papers, creative pieces, readings — covering such possible topics as:. Please send abstracts of no more than words or examples of creative work along with a brief bio to glits holly.online amateur sex.