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Creative Resilience and COVID-19最新文献

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How drawing can help us see one another 绘画如何帮助我们了解彼此
Pub Date : 2022-01-20 DOI: 10.4324/9781003213536-14
Emmy Waldman
This chapter discusses graphic narrative as an emerging realm of possibilities for documenting and responding to the trauma of the pandemic. The essay draws on theories of graphic medicine to survey the depth and breadth of documentary comic responses to COVID-19. The essay explores Pandemix: Quarantine Comics edited by Whitney Matheson and Dean Haspiel and the New York Times’ Diary Project, featuring quarantine diary comics. The essay gives special attention to the drawn comics diary, analyzing how it helps navigate the everyday experience of life amid the contracted spaces and complex temporalities in quarantine and in the midst of a pandemic. © 2022 selection and editorial matter, Irene Gammel and Jason Wang;individual chapters, the contributors.
本章讨论了图形叙事作为记录和应对大流行病创伤的一个新兴可能性领域。本文借鉴图形医学理论,调查了纪录片喜剧应对COVID-19的深度和广度。这篇文章探讨了Whitney Matheson和Dean Haspiel编辑的大流行病:检疫漫画和纽约时报的日记项目,以检疫日记漫画为特色。这篇文章特别关注了漫画日记,分析了它如何在隔离和大流行期间的收缩空间和复杂的时间性中帮助导航日常生活体验。©2022选择和编辑事项,Irene Gammel和Jason Wang;个别章节,贡献者。
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引用次数: 1
“Why has the outbreak turned so deadly?” “为什么疫情会变得如此致命?”
Pub Date : 2022-01-20 DOI: 10.4324/9781003213536-4
Irene Gammel, Jason Wang
What are the form and function of the lockdown diary during COVID-19? This essay explores Chinese writer Fang Fang’s Wuhan Diary: Dispatches from a Quarantined City (2020), which was published online (25 January–24 March 2020) for a mass audience of Chinese readers during lockdown in Wuhan. The text became an instant bestseller in COVID-19-traumatized Euro-American countries when it was published as a book in English translation in 2020. This essay considers the diary as an outbreak narrative whose goal is the containment of the pandemic before considering the online medium used to publish these entries, a medium that reshapes the traditional diary genre itself. Fang Fang’s performance of the self in public assumes a crucial function, as do the participatory dynamics involving multiple audiences which profoundly shape this online diary. Ultimately, Wuhan Diary functions as a social text which engages its multiple audiences rhetorically in helping navigate and contain the pandemic. © 2022 selection and editorial matter, Irene Gammel and Jason Wang;individual chapters, the contributors.
COVID-19期间的封锁日记的形式和功能是什么?本文探讨了中国作家方方在武汉封锁期间(2020年1月25日至3月24日)在网上发表的《武汉日记:隔离城市快讯(2020)》,供广大中国读者阅读。该文本于2020年以英文译本出版后,立即成为受covid -19创伤的欧美国家的畅销书。本文将日记视为一种爆发叙事,其目标是遏制疫情,然后再考虑用于发布这些条目的在线媒体,这种媒体重塑了传统日记类型本身。方方在公众场合对自我的表现扮演了一个至关重要的角色,涉及多个受众的参与性动态也深刻地塑造了这部网络日记。最终,《武汉日记》作为一种社会文本,以修辞的方式吸引众多受众,帮助驾驭和控制疫情。©2022选择和编辑事项,Irene Gammel和Jason Wang;个别章节,贡献者。
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引用次数: 0
Threshold spaces 阈值空间
Pub Date : 2022-01-20 DOI: 10.4324/9781003213536-13
Irene Gammel, Natalie Ilsley
Previous studies (see, for example, Julia Sonnevend) have noted the plethora of COVID-19 visual imagery that act as powerful communicative tools. We extend these scholarly insights by focusing on the emotive visual dynamics and social operations of photograph in two city case studies: artists Bill Hayes’ and Ruth Corney’s respective New York and London photography at street level during the first wave of COVID-19 in 2020. More specifically, by taking viewers inside threshold spaces such as doorways, windows, and front yards, we argue that these artists’ images dramatize possibilities of creativity and empathy at the borders of inside/outside, visible/invisible, and visual/verbal. They reveal the emotive interaction forged between subjects and the quotidian materials of their sentient environment. Ultimately, the chapter documents how these images help guide viewers through the emotive hardships of the pandemic, illuminating the operations of creative resilience while actively soliciting the viewer’s empathy. © 2022 selection and editorial matter, Irene Gammel and Jason Wang;individual chapters, the contributors.
以前的研究(例如,参见Julia sonneend)已经注意到,大量的COVID-19视觉图像可以作为强大的沟通工具。我们通过两个城市案例研究来扩展这些学术见解,重点关注照片的情感视觉动态和社会运作:艺术家比尔·海耶斯和露丝·科尼在2020年第一波COVID-19期间分别在纽约和伦敦的街头摄影。更具体地说,通过将观众带入门槛空间,如门口、窗户和前院,我们认为这些艺术家的图像戏剧化了创造力和同理心在内部/外部、可见/不可见、视觉/语言边界的可能性。它们揭示了主体与感知环境的日常材料之间形成的情感互动。最后,本章记录了这些图像如何帮助引导观众度过大流行的情感困境,在积极征求观众同情的同时,阐明了创造性弹性的运作。©2022选择和编辑事项,Irene Gammel和Jason Wang;个别章节,贡献者。
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引用次数: 2
What COVID-19 has taught academics COVID-19教会了学者们什么
Pub Date : 2022-01-20 DOI: 10.4324/9781003213536-21
K. Bremer
Using Wilhelm von Humboldt’s ideal of education as Bildung, with its focus on the cultivation of the self, this essay argues for fostering live academic participation in the post-pandemic era. The author homes in on the in-person, seminar-style teaching that was deprived of key elements during COVID-19 due to the abrupt switch to the digital format. No matter which communication tools are used in remote teaching, chat software usually does not display more than the name of the participants. Conference or meeting software can show faces live, but the tiles are usually so small that little more than the basic features of the face are recognizable, that is, if the camera is not switched off altogether, or the connection is too shaky, or the students—justifiably—do not wish to give insights into their private spaces. Consequently, digital teaching cannot convey the full mimicry, gestures, and engagement that in-person teaching provides through the live dialogue. Thus, this essay makes an argument for fostering in-person teaching in the future. © 2022 selection and editorial matter, Irene Gammel and Jason Wang;individual chapters, the contributors.
利用威廉·冯·洪堡(Wilhelm von Humboldt)的教育理想,以自我培养为重点,本文主张在大流行后时代促进现场学术参与。作者关注的是在2019冠状病毒病期间,由于突然转向数字格式,面对面的研讨会式教学被剥夺了关键要素。无论在远程教学中使用哪种通信工具,聊天软件通常不会显示参与者的姓名。会议或会议软件可以实时显示人脸,但这些图像通常很小,除了人脸的基本特征之外,几乎没有什么可识别的,也就是说,如果摄像头没有完全关闭,或者连接太不稳定,或者学生(完全有理由)不想让别人看到他们的私人空间。因此,数字教学无法通过现场对话传达面对面教学所提供的完整模仿、手势和参与。因此,本文提出了在未来促进面对面教学的观点。©2022选择和编辑事项,Irene Gammel和Jason Wang;个别章节,贡献者。
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引用次数: 0
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Creative Resilience and COVID-19
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