This monograph accompanies poet and interdisciplinary artist Jen Bervin's survey exhibition at University Galleries of IIlinois State University. It features her individual and collaborative works made from 1997 through 2020.

Full-color facsimile publication of Emily Dickinson's manuscripts

This survey of textile fundamentals and methods, written by the foremost textile artist of the 20th century, covers hand weaving and the loom, fundamental construction and draft notation, modified and composite weaves, early techniques of thread interlacing, interrelation of fiber and construction, tactile sensibility, and design. 9 color illustrations. 112 black-and-white plates.

"Bervin shows us ways in which we might open up pre- or over-determined uses of past structures without erasing them--making the poems all the more complex by their refusal to dislocate. Her Nets is context responsive and responsible, without the knot of lyric-envy and linguistic guilt of many contemporary poems that pillage the past for strangeness, or worse, for an energetic imagination that might impersonate the writer's. --Christine Hume, Aufgabe. Process note from Jen Bervin: "I stripped Shakespeare's sonnets bare to the 'nets' to make the space of the poems open, porous, possible--a divergent elsewhere. When we write poems, the history of poetry is with us, pre-inscribed in the white of the page; when we read or write poems, we do it with or against this palimpsest."

An argument that by amplifying alienation in performance, we can shift the emphasis from the sonic to the social. Work in sound studies continues to seek out sound "itself"--but, today, when the aesthetic can claim no autonomy and the agency of both artist and audience is socially constituted, why not explore the social mediation already present within our experience of the sonorous? In this work, artist, musician, performer, and theorist Mattin sets out an understanding of alienation as a constitutive part of subjectivity and as an enabling condition for exploring social dissonance--the discrepancy between our individual narcissism and our social capacity. Mattin's theoretical investigation is intertwined with documentation of a concrete experiment in the form of an instructional score (performed at documenta 14, 2017, in Athens and Kassel) which explores these conceptual connotations in practice, as players use members of the audience as instruments, who then hear themselves and reflect on their own conception and self-presentation. Social Dissonance claims that, by amplifying alienation in performance and participation in order to understand how we are constructed through various forms of mediation, we can shift the emphasis from the sonic to the social, and in doing so, discover for ourselves that social dissonance is the territory within which we already find ourselves, the condition we inhabit.

The earliest references to eavesdropping are found in law books. According to William Blackstone's Commentaries on the Laws of England (1769), 'eavesdroppers, or such as listen under walls or windows, or the eaves of a house, to hearken after discourse, and thereupon to frame slanderous and mischievous tales, are a common nuisance and presentable at the court-leet'. Today, however, eavesdropping is not only legal, it's ubiquitous - unavoidable. What was once a minor public-order offence has become one of the key political and legal problems of our time, as the Snowden revelations made clear. 'Eavesdropping' addresses the capture and control of our sonic world by state and corporate interests, alongside strategies of resistance. For editors James Parker (Melbourne Law School) and Joel Stern (Liquid Architecture), eavesdropping isn't necessarily malicious. We cannot help but hear too much, more than we mean to. Eavesdropping is a condition of social life. And the question is not whether to eavesdrop, therefore, but how. -Front flap.

Find out how to apply learning science in online classes The concept of small teaching is simple: small and strategic changes have enormous power to improve student learning. Instructors face unique and specific challenges when teaching an online course. This book offers small teaching strategies that will positively impact the online classroom. This book outlines practical and feasible applications of theoretical principles to help your online students learn. It includes current best practices around educational technologies, strategies to build community and collaboration, and minor changes you can make in your online teaching practice, small but impactful adjustments that result in significant learning gains. Explains how you can support your online students Helps your students find success in this non-traditional learning environment Covers online and blended learning Addresses specific challenges that online instructors face in higher education Small Teaching Online presents research-based teaching techniques from an online instructional design expert and the bestselling author of Small Teaching.

Translation and Repetition: Rewriting (Un)original Literature offers a new and original perspective in translation studies by considering creative repetition from the perspective of the translator. This is done by analyzing so-called "unoriginal literature" and thus expanding the definition of translation. In Western thought, repetition has long been regarded as something negative, as a kind of cliché, stereotype or automatism that is the opposite of creation. On the other hand, in the eyes of many contemporary philosophers from Wittgenstein and Derrida to Deleuze and Guattari, repetition is more about difference. It involves rewriting stories initially told in other contexts so that they acquire a different perspective. In this sense, repeating is often a political act. Repetition is a creative impulse for the making of what is new. Repetition as iteration is understood in this book as an action that recognizes the creative and critical potential of copying. The author analyzes how our time understands originality and authorship differently from past eras, and how the new philosophical ways of approaching repetition imply a new way of understanding the concept of originality and authorship. Deconstruction of these notions also implies subverting the traditional ways of approaching translation. This is vital reading for all courses on literary translation, comparative literature, and literature in translation within translation studies and literature.

The genre of poems that may be read both forward and backward, producing different creations was known as the "flight of wild geese." These poems were often sent so that a distant lover, like the migrating birds, would return. Its greatest practitioner, and the focus of this critical anthology, is Su Hui, a woman who, in the 4th Century, embroidered a silk for her distant husband using a grid of 840 characters that created perhaps 12,000 ways to read this poem. With examples from the 3rd to the 19th centuries, Michele Metail describes reversible poems as "a singular adventure at the edge of meaning, of language, and of writing."