- #ART SIMILAR TO THE SUFFERER AND THE WITNESS TRIAL#
- #ART SIMILAR TO THE SUFFERER AND THE WITNESS FREE#
Sheriff Murdoch MacTaggart heard how three children had been within the bogs subsequent to the multi-storey automotive park – with nobody else current aside from the accused.Īfter they alerted centre safety, the court docket heard the children adopted the accused by the mall to take a ‘image of his registration’.ĭefence solicitor Simon Brown said “there is no such thing as a dispute the accused was within the space on the time” – however instructed the boys had been being abusive.
#ART SIMILAR TO THE SUFFERER AND THE WITNESS TRIAL#
2015.The Saltcoats resident denied the voyeurism declare throughout a trial at Kilmarnock Sheriff Court docket on Monday. “The Voices of Hurricane Katrina, Part I: What Are the Ethics of Poetic Appropriation?” The Poetry Foundation. “Events of the Day.” New York City: National September 11 Memorial & Museum, 2014. “Photograph from September 11.” Monologue of a Dog: New Poems. New York: Farrar, Straus and Giroux, 1973. Margaret Ferguson, Mary Jo Salter, and Jon Sallworthy. “Not Waving but Drowning.” The Norton Anthology of Poetry. “The Condition of Black Life Is One of Mourning.” The New York Times Magazine 22 June 2015. “Claudia Rankine by Lauren Berlant.” BOMB 129 (Fall, 2014): n.p. “Foreword.” An Eye for an Eye Makes the Whole World Blind: Poets on 9/11. “Knowing Friend.” City Without People: The Katrina Poems. “A New Way of Writing About Race.” The New York Review of Books 23 Apr. “September Twelfth, 2001.” September 11, 2001: American Writers Respond. “ Citizen: An American Lyric by Claudia Rankine Review-The Ugly Truth of Racism.” The Guardian 30 Aug.
“Wandering Spirit: ASU’s Cynthia Hogue Is Haunted-And Inspired-By Time Spent in New Orleans.” Tucson Weekly 10 Mar. “The Falling Man: Do You Remember This Photograph?” Esquire 140.3 (Sept. Poetic Obligation: Ethics in Experimental American Poetry After 1945.
#ART SIMILAR TO THE SUFFERER AND THE WITNESS FREE#
“Hurricane Katrina Tour.” Free Tours by Foot. “The Words Come Later: An Interview with Cynthia Hogue and Silvain Gallais by Stacey Waite.” Tupelo Quarterly 5 (n.d.): n.p. When the Water Came: Evacuees of Hurricane Katrina. Family Frames: Photography, Narrative, and Postmemory. Rob the Plagiarist: Others Writing by Robert Fitterman 2000–2008. New York: Routledge, 1992.įitterman, Robert. Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History. “The Interview: Lily Brett.” The Sydney Morning Herald 29 Sept. “Who Knew the Murderers.” Tales from a Child of the Enemy. Chicago: U of Chicago Press, 1980.ĭelbo, Charlotte. By Words Alone: The Holocaust in Literature. “Calling on Witnesses: Testimony and the Deictic.” Journal of Aesthetics and Culture 1.1 (2009): n.p. “A Dialectic of the Deictic: Pronouns and Persons in H.G. “Foreword.” Monologue of a Dog: New Poems. “The Banality of the Document: Charles Reznikoff’s Holocaust and Ineloquent Empathy.” Journal of Modern Literature 32.1 (Fall, 2008): 86–110. Precarious Life: The Powers of Mourning and Violence. Toronto: McClelland & Stewart, 2006.īrett, Lily. “Reznikoff’s Nearness.” Sulfur 32 (Spring, 1993): 6–38.īlum, Lawrence. Ann Arbor: The U of Michigan Press, 1994.īernstein, Charles. New York: Hill and Wang, 1981.īaudrillard, Jean. Camera Lucida: Reflections on Photography. New York: Routledge, 2004.Īrendt, Hannah. When a white person takes the voices of people of color for his own uses, without permission, in the aftermath of a racially charged national disaster, it is vulture work – worse than ventriloquism.” Although my project does not consider McDaniel’s poem outside of this footnote, Young’s metaphorical equation of McDaniel as vulture has implications for the empathetic dissonance in the poems that I do study.Īhmed, Sara. It happened in a particular geography, a history, an economy, and a field of race and power built to render certain people powerless. Incensed by McDaniel’s poetic carelessness and liberty, Young comments, “Hurricane Katrina did not happen in a vacuum, in America’s imagination, to everyone, or in general.
Young particularly notes that McDaniel de-individualizes the survivors by divesting them of their names and merging their narratives together. Without the knowledge and consent of the Hurricane Katrina survivors whose stories he finds in the online archives of Young’s Alive in Truth: The New Orleans Disaster Oral History and Memory Project, McDaniel uses the words of the survivors for his poem.
Abe Louise Young identifies an instance of collaborative failure in her discussion of Raymond McDaniel’s poem “Convention Centers of the New World” from his book Saltwater Empire.
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