Pub Date : 2024-02-02DOI: 10.14324/111.444.1755-4527.1793
Alisha Mathers
Unable to live in his homeland of Nigeria because of his sexuality, Edafe Okporo fled to America. Seeking asylum in the so-called Land of the Free, however, proved harder than he expected. In his memoir and manifesto Asylum, Okporo traces his search for refuge from Nigeria to New York City.The result is a harrowing tale of loss, detailing Okporo’s tiresome fight to find refuge from persecution. Recent ethnographic studies have explored the experiences of queer refugees, specifically how queer community groups have supported and excluded queer refugees in asylum, but also how the safety of queer refugees within the asylum system is extremely precarious. Asylum, however, provides a rare insight into an asylum system from a queer refugee’s perspective. The narrative also offers an in-depth exploration into the often- hidden parts of the asylum process, such as his initial moments of exile and life in detention in the United States.
{"title":"Sexual/Orientation: Navigating the Asylum System as a Queer Black Man in Edafe Okporo’s Asylum (2022)","authors":"Alisha Mathers","doi":"10.14324/111.444.1755-4527.1793","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1793","url":null,"abstract":"Unable to live in his homeland of Nigeria because of his sexuality, Edafe Okporo fled to America. Seeking asylum in the so-called Land of the Free, however, proved harder than he expected. In his memoir and manifesto Asylum, Okporo traces his search for refuge from Nigeria to New York City.The result is a harrowing tale of loss, detailing Okporo’s tiresome fight to find refuge from persecution.\u0000Recent ethnographic studies have explored the experiences of queer refugees, specifically how queer community groups have supported and excluded queer refugees in asylum, but also how the safety of queer refugees within the asylum system is extremely precarious. Asylum, however, provides a rare insight into an asylum system from a queer refugee’s perspective. The narrative also offers an in-depth exploration into the often- hidden parts of the asylum process, such as his initial moments of exile and life in detention in the United States.","PeriodicalId":517017,"journal":{"name":"Movement","volume":"89 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139893643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-02DOI: 10.14324/111.444.1755-4527.1769
Daniel Lewis
There is something strange, perhaps, in producing a journal called ‘Moveable Type’ that has never appeared in print, or been anywhere near a press. How or why the editors of the first volume landed on the name is lost to history, or at least in need of some research. But what is certain is that the journal, born (enrolled?) in the (academic) year 2004-5, is a child of the Internet. A thoroughly digital native; assembled, uploaded, published, downloaded and read—one hopes—online. There is, perhaps, a further irony in the fact that, until recently, Moveable Type was a repository for papers delivered at the UCL English Department’s annual graduate conference, and so a record of the spoken word. And last year, the journal made a tentative move into the realm of podcasts. From the oral to the written to the digital, from written record to sound recording. We appear to be leaving the Gutenberg Galaxy.
或许，出版一份从未印刷过或接近过印刷机的名为 "Moveable Type "的期刊有些奇怪。第一卷的编辑们是如何或为什么取这个名字的，历史已经无从考证，或者至少需要进行一些研究。但可以肯定的是，这份诞生（注册？）于 2004-5 学年的期刊是互联网的产物。它是一个彻头彻尾的数字原生刊物；它在网上集结、上传、出版、下载和阅读--希望如此。也许还有一种讽刺意味，那就是直到最近，《Moveable Type》一直是伦敦大学洛杉矶分校英语系研究生年会的论文库，因此也是口语的记录。去年，该期刊试探性地进入了播客领域。从口头到书面再到数字，从书面记录到声音记录。我们似乎正在离开古腾堡银河系。
{"title":"In the Realm of Ends: The Fate of Moveable Type","authors":"Daniel Lewis","doi":"10.14324/111.444.1755-4527.1769","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1769","url":null,"abstract":"There is something strange, perhaps, in producing a journal called ‘Moveable Type’ that has never appeared in print, or been anywhere near a press. How or why the editors of the first volume landed on the name is lost to history, or at least in need of some research. But what is certain is that the journal, born (enrolled?) in the (academic) year 2004-5, is a child of the Internet. A thoroughly digital native; assembled, uploaded, published, downloaded and read—one hopes—online. There is, perhaps, a further irony in the fact that, until recently, Moveable Type was a repository for papers delivered at the UCL English Department’s annual graduate conference, and so a record of the spoken word. And last year, the journal made a tentative move into the realm of podcasts. From the oral to the written to the digital, from written record to sound recording. We appear to be leaving the Gutenberg Galaxy.","PeriodicalId":517017,"journal":{"name":"Movement","volume":"48 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139893674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-02DOI: 10.14324/111.444.1755-4527.1770
Emily Round
While Tobe Hooper’s The Texas Chain Saw Massacre (1974) and David Robert Mitchell’s It Follows (2014) ostensibly focalise their films’ narratives upon the imminent threat of bodily violence which endangers their respective protagonists’ lives, a deeper analysis of both films illuminates the terror at the heart of the narratives: economic precarity and immobility. Both Hooper and Mitchell deliberately situate their horror films within settings that are haunted by the past hope of prosperity and which have corroded into ruins, left to rust and rot under the hostile conditions of post-industrial capitalism. These rents in the socio- economic fabric are intimately registered on a corporeal level, as the bodies of both Chain Saw protagonist Sally Hardesty and It Follows protagonist Jay Height become the sites onto which the capitalist horrors of unequal prosperity and labour redundancy are violently enacted. In Hooper’s film, the rural backwoods of Texas play host to a brutal confrontation between a working-class family—made redundant by the rise of automation and thus embodying the industrial atrophy of the American South—and a group of drifting, unfettered young people, represented by Sally and her friends.
{"title":"Dead Ends: Ruin, Redundancy, and the Horrors of Precarity in The Texas Chain Saw Massacre and It Follows","authors":"Emily Round","doi":"10.14324/111.444.1755-4527.1770","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1770","url":null,"abstract":"While Tobe Hooper’s The Texas Chain Saw Massacre (1974) and David Robert Mitchell’s It Follows (2014) ostensibly focalise their films’ narratives upon the imminent threat of bodily violence which endangers their respective protagonists’ lives, a deeper analysis of both films illuminates the terror at the heart of the narratives: economic precarity and immobility. Both Hooper and Mitchell deliberately situate their horror films within settings that are haunted by the past hope of prosperity and which have corroded into ruins, left to rust and rot under the hostile conditions of post-industrial capitalism. These rents in the socio- economic fabric are intimately registered on a corporeal level, as the bodies of both Chain Saw protagonist Sally Hardesty and It Follows protagonist Jay Height become the sites onto which the capitalist horrors of unequal prosperity and labour redundancy are violently enacted. In Hooper’s film, the rural backwoods of Texas play host to a brutal confrontation between a working-class family—made redundant by the rise of automation and thus embodying the industrial atrophy of the American South—and a group of drifting, unfettered young people, represented by Sally and her friends.","PeriodicalId":517017,"journal":{"name":"Movement","volume":"48 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139896339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-02DOI: 10.14324/111.444.1755-4527.1775
Mike Fu
As a resident of New York City during my twenties and early thirties, I lived through a cascade of cultural eras that exemplified America’s complex and oftentimes contradictory character. Certain palpable shifts coincided with major political events: my time in the city was bookended by the election of Barack Obama as president in 2008 and Donald Trump’s last year in office in 2020. Other changes were more subtle or cumulative in nature, broader trends that took shape around me as I grew into my adult identity and found footing within various communities. Millennials and Generation Z began to stake positions in public discourse with their idiosyncratic worldviews and economic or political grievances, all while Internet 2.0 developed in step with the proliferation of smartphones and the rise of social media. Amidst this wholesale reshaping of human experience by technology, I started to become aware of the independent magazine as a site of representational discourse and collective identity formation, especially for the Asian American community.
{"title":"Within and Beyond: Indie Magazines and the Asian Diasporic Subject","authors":"Mike Fu","doi":"10.14324/111.444.1755-4527.1775","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1775","url":null,"abstract":"As a resident of New York City during my twenties and early thirties, I lived through a cascade of cultural eras that exemplified America’s complex and oftentimes contradictory character. Certain palpable shifts coincided with major political events: my time in the city was bookended by the election of Barack Obama as president in 2008 and Donald Trump’s last year in office in 2020. Other changes were more subtle or cumulative in nature, broader trends that took shape around me as I grew into my adult identity and found footing within various communities. Millennials and Generation Z began to stake positions in public discourse with their idiosyncratic worldviews and economic or political grievances, all while Internet 2.0 developed in step with the proliferation of smartphones and the rise of social media. Amidst this wholesale reshaping of human experience by technology, I started to become aware of the independent magazine as a site of representational discourse and collective identity formation, especially for the Asian American community.","PeriodicalId":517017,"journal":{"name":"Movement","volume":"131 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139897053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-02DOI: 10.14324/111.444.1755-4527.1784
Chelsea Ko
‘Eroticism’, says French philosopher Georges Bataille, ‘is assenting to life up to the point of death.’ The word denotes a quality of the sexual that is beyond the pleasure principle: it is self-loss approximated at the height of life. Communication, of which eroticism is one, entails a provisional imperilling of selfhood, a moment of ‘risk taking’ that, in Bataille’s description, places the being ‘at the limit of death and nothingness.’ A sexual communication, which Bataille likens to a religious festival, ‘provokes an outward movement in the first place.’ Unable to accomplish self-loss, this movement inevitably calls for a ‘retraction and a renunciation.’ But it is the rule with eroticism that this initial recoil ‘organises the merry-go-round’ and, as Bataille concludes in Eroticism (1957), ensures the ‘return of the forward movement.’
{"title":"Batlló and Bataille: Four Photographs","authors":"Chelsea Ko","doi":"10.14324/111.444.1755-4527.1784","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1784","url":null,"abstract":"‘Eroticism’, says French philosopher Georges Bataille, ‘is assenting to life up to the point of death.’ The word denotes a quality of the sexual that is beyond the pleasure principle: it is self-loss approximated at the height of life. Communication, of which eroticism is one, entails a provisional imperilling of selfhood, a moment of ‘risk taking’ that, in Bataille’s description, places the being ‘at the limit of death and nothingness.’ A sexual communication, which Bataille likens to a religious festival, ‘provokes an outward movement in the first place.’ Unable to accomplish self-loss, this movement inevitably calls for a ‘retraction and a renunciation.’ But it is the rule with eroticism that this initial recoil ‘organises the merry-go-round’ and, as Bataille concludes in Eroticism (1957), ensures the ‘return of the forward movement.’","PeriodicalId":517017,"journal":{"name":"Movement","volume":"29 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139896986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-02DOI: 10.14324/111.444.1755-4527.1771
Christopher O'Hara
In the 1966 animated short film What on Earth!, viewers are presented with a news-reel styled broadcast—ostensibly from the ‘National Film Board of Mars’—detailing Martians’ first glimpses of alien life on Earth. As a car enters from the right, the narrator announces: ‘And then, the big news: there is life on Earth!’ The ‘cameras on our orbiting spaceship’ then follow these Earthlings through their daily rituals: ‘at dinner’ (fuelling with petrol), taking ‘shelter for the night’ (parking in a garage), and ‘browsing in curiously designed libraries’ (driving through a region inundated with billboards). Yet this colourful, comedic, slightly surreal animation takes a sinister turn towards its end as we glimpse the human occupants of the vehicle for the first time.
在 1966 年的动画短片《地球上有什么！》（What on Earth!当一辆汽车从右侧驶入时，解说员宣布：随后，"我们轨道飞船上的摄像机 "跟随这些地球人的日常活动："吃晚饭"（加油）、"过夜"（在车库停车）、"浏览设计奇特的图书馆"（驾车穿过广告牌林立的地区）。然而，这部色彩斑斓、充满喜剧色彩、略带超现实色彩的动画片在结尾处却出现了险恶的转折，因为我们第一次看到了车内的人类。
{"title":"Automobility in the Age of Apocalypse: On the Beach, Nuclear Nostalgia, and Atomic (Im)Mobilities","authors":"Christopher O'Hara","doi":"10.14324/111.444.1755-4527.1771","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1771","url":null,"abstract":"In the 1966 animated short film What on Earth!, viewers are presented with a news-reel styled broadcast—ostensibly from the ‘National Film Board of Mars’—detailing Martians’ first glimpses of alien life on Earth. As a car enters from the right, the narrator announces: ‘And then, the big news: there is life on Earth!’ The ‘cameras on our orbiting spaceship’ then follow these Earthlings through their daily rituals: ‘at dinner’ (fuelling with petrol), taking ‘shelter for the night’ (parking in a garage), and ‘browsing in curiously designed libraries’ (driving through a region inundated with billboards). Yet this colourful, comedic, slightly surreal animation takes a sinister turn towards its end as we glimpse the human occupants of the vehicle for the first time.","PeriodicalId":517017,"journal":{"name":"Movement","volume":"79 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139897063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-02DOI: 10.14324/111.444.1755-4527.1774
Laura Thorn
"Serious-minded people may then say with the poet, ‘It’s a marquetry casket, and that’s all.’ Echoing this reasonable opinion, the reader who is averse to playing with inversions of large and small, exterior and intimacy, may also say: ‘It’s a poem and that’s all.’ ‘And nothing more.’ In reality, however, the poet has given concrete form to a very general psychological theme, namely, that there will always be more things in a closed, than in an open, box. To verify images kills them, and it is always more enriching to imagine than to experience." In his analysis of spatial imagery in poetry, Gaston Bachelard calls attention to the suggestiveness of an enclosed space that has not been opened yet. Using what he calls ‘topoanalysis’, he uses spaces and especially ‘the house as a tool for analysis of the human soul’. The Changeling is a play full of enclosed spaces, many of which are strongly guarded. The reasons for this secrecy, however, are often complicated.
{"title":"‘But within are secrets’: Space in Thomas Middleton and William Rowley’s The Changeling","authors":"Laura Thorn","doi":"10.14324/111.444.1755-4527.1774","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1774","url":null,"abstract":"\"Serious-minded people may then say with the poet, ‘It’s a marquetry casket, and that’s all.’ Echoing this reasonable opinion, the reader who is averse to playing with inversions of large and small, exterior and intimacy, may also say: ‘It’s a poem and that’s all.’ ‘And nothing more.’ In reality, however, the poet has given concrete form to a very general psychological theme, namely, that there will always be more things in a closed, than in an open, box. To verify images kills them, and it is always more enriching to imagine than to experience.\"\u0000\u0000In his analysis of spatial imagery in poetry, Gaston Bachelard calls attention to the suggestiveness of an enclosed space that has not been opened yet. Using what he calls ‘topoanalysis’, he uses spaces and especially ‘the house as a tool for analysis of the human soul’. The Changeling is a play full of enclosed spaces, many of which are strongly guarded. The reasons for this secrecy, however, are often complicated.","PeriodicalId":517017,"journal":{"name":"Movement","volume":"18 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139893417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-02DOI: 10.14324/111.444.1755-4527.1787
Editors at Moveable Type
Author Biographies and End Matter
作者简介和结束语
{"title":"Author Biographies and End Matter","authors":"Editors at Moveable Type","doi":"10.14324/111.444.1755-4527.1787","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1787","url":null,"abstract":"Author Biographies and End Matter","PeriodicalId":517017,"journal":{"name":"Movement","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139893422","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-02DOI: 10.14324/111.444.1755-4527.1784
Chelsea Ko
‘Eroticism’, says French philosopher Georges Bataille, ‘is assenting to life up to the point of death.’ The word denotes a quality of the sexual that is beyond the pleasure principle: it is self-loss approximated at the height of life. Communication, of which eroticism is one, entails a provisional imperilling of selfhood, a moment of ‘risk taking’ that, in Bataille’s description, places the being ‘at the limit of death and nothingness.’ A sexual communication, which Bataille likens to a religious festival, ‘provokes an outward movement in the first place.’ Unable to accomplish self-loss, this movement inevitably calls for a ‘retraction and a renunciation.’ But it is the rule with eroticism that this initial recoil ‘organises the merry-go-round’ and, as Bataille concludes in Eroticism (1957), ensures the ‘return of the forward movement.’
{"title":"Batlló and Bataille: Four Photographs","authors":"Chelsea Ko","doi":"10.14324/111.444.1755-4527.1784","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1784","url":null,"abstract":"‘Eroticism’, says French philosopher Georges Bataille, ‘is assenting to life up to the point of death.’ The word denotes a quality of the sexual that is beyond the pleasure principle: it is self-loss approximated at the height of life. Communication, of which eroticism is one, entails a provisional imperilling of selfhood, a moment of ‘risk taking’ that, in Bataille’s description, places the being ‘at the limit of death and nothingness.’ A sexual communication, which Bataille likens to a religious festival, ‘provokes an outward movement in the first place.’ Unable to accomplish self-loss, this movement inevitably calls for a ‘retraction and a renunciation.’ But it is the rule with eroticism that this initial recoil ‘organises the merry-go-round’ and, as Bataille concludes in Eroticism (1957), ensures the ‘return of the forward movement.’","PeriodicalId":517017,"journal":{"name":"Movement","volume":"67 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139893582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-02DOI: 10.14324/111.444.1755-4527.1787
Editors at Moveable Type
Author Biographies and End Matter
作者简介和结束语
{"title":"Author Biographies and End Matter","authors":"Editors at Moveable Type","doi":"10.14324/111.444.1755-4527.1787","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1787","url":null,"abstract":"Author Biographies and End Matter","PeriodicalId":517017,"journal":{"name":"Movement","volume":"7 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139896356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：