A group editorial from the Editorial Board of the Journal of Librarianship and Scholarly Communication.

A group editorial from the Editorial Board of the Journal of Librarianship and Scholarly Communication.

A group editorial from the Editorial Board of the Journal of Librarianship and Scholarly Communication.

Live performance lacks the durability of art practices such as photography, film and
painting, and so definitions of ‘live’ acts have traditionally been formulated in terms
of ‘transience’ and ‘disappearance’. In this context the archive and archival documents
are often described as the antithesis of performance’s ontology. An archive’s pri…[Read more]

Live performance lacks the durability of art practices such as photography, film and
painting, and so definitions of ‘live’ acts have traditionally been formulated in terms
of ‘transience’ and ‘disappearance’. In this context the archive and archival documents
are often described as the antithesis of performance’s ontology. An archive’s pri…[Read more]

Live performance lacks the durability of art practices such as photography, film and
painting, and so definitions of ‘live’ acts have traditionally been formulated in terms
of ‘transience’ and ‘disappearance’. In this context the archive and archival documents
are often described as the antithesis of performance’s ontology. An archive’s pri…[Read more]

The Monty Hyams Archive stands as an important source of information history. This project seeks to organise and investigate the contents of the Archive while providing information on standards application to the care of the Archive. Through the research methodologies of literary warrant analysis, documentary analysis, and historical research,…[Read more]

The Monty Hyams Archive stands as an important source of information history. This project seeks to organise and investigate the contents of the Archive while providing information on standards application to the care of the Archive. Through the research methodologies of literary warrant analysis, documentary analysis, and historical research,…[Read more]

When Jackie Chan was introduced to Japanese audiences in the early 1980s, he was promoted as the answer to the void that popular martial arts star Bruce Lee had left upon his death in 1975. The mischievous ‘monkey’ to Lee’s more ferocious ‘dragon’, Chan’s films were aggressively marketed to an audience of male martial arts fans; yet this…[Read more]

Recent years have witnessed the growth of a body of literature concerned with what Sheldon Hsiao-peng Lu has termed “Chinese cinemas,”1 sparked by the increased international visibility of films from mainland China, Taiwan, and Hong Kong, and characterized by an emerging interest in the ways that such works negotiate both “the triumphantly…[Read more]

A Bakhtinian Analysis of Language and Multiculturalism in Iwai Shunyi’s Swallowtail Butterfly

Scholarship on representations of East Asian women has honed on the ubiquity of a ‘geisha’ stereotype in Asian-themed Hollywood films: women who willingly acquiesce to the prerogatives of Western men and, in so doing, symbolically affirm the subordination of East Asian political autonomy to a paternalistic United States. Within this context, the…[Read more]

This thesis investigates the connection between open access – the free online availability and distribution of scientific and scholarly publications – and the ‘developing world’ from a post- development perspective. It takes a discourse analytical approach, drawing predominantly on Michel Foucault’s understanding of discourse and on postdevel…[Read more]

In his 1992 essay Eftermaele: ‘That which will be said afterwards’ Eugenio Barba states that ‘[i]n the age of electronic memory, of films, and of reproducibility … performance … defines itself through the work that living memory, which is not museum but metamorphosis, is obliged to do’ (78). His mention of memory is an acknowledgement of…[Read more]

In his 1992 essay Eftermaele: ‘That which will be said afterwards’ Eugenio Barba states that ‘[i]n the age of electronic memory, of films, and of reproducibility … performance … defines itself through the work that living memory, which is not museum but metamorphosis, is obliged to do’ (78). His mention of memory is an acknowledgement of…[Read more]