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The earliest instance of the term poetics according to the Oxford English Dictionary (OED) is in John Milton’s 1664 work ‘Of Education’ where it means, ‘the aspect of literary criticism that deals with poetry’, or, ‘the branch of knowledge that deals with poetry’. The term retained this meaning for centuries to come. However, the OED also indicates that in the 20th century the term was used with a broader meaning, ‘the creative principles informing any literary or social or cultural construction’, for example in Alan Sheridan’s translation of Lacan’s Écrits

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affinities between Rengger and Weber in their diagnoses of how rationalization and the concomitant loss of an ethic of brotherliness characterize the modern disenchantment of the world. Rengger’s wish to sustain an ethic of brotherliness meets its limits, however, in so much as his delineation of the relationship between theory and practice militates against the desire to root lives within networks of living concern. The chapter thus explores Rengger’s distinction between theory and practice, poetics and politics, in light of Weber’s discussions of the virtuosi of

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81 FOUR Poetic realism: filmic planning in an era of transport modernisation INTRODUCTION The British documentary film movement embraced modernity wholeheartedly. The filmic works of Robert Flaherty, John Grierson, Arthur Elton, Basil Wright, Paul Rotha and Humphrey Jennings sought to capture and depict a radical period of British history, from the 1930s onwards. A radical political period, alongside economic depression, scientific and technological discovery, cultural innovation and rapid urbanisation, had created new conditions. The documentary film

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141 8 Beijing Ring Roads and the Poetics of Excess and Ordinariness Jeroen de Kloet Night rides When I was doing fieldwork on rock music in Beijing in 1997, I lived at the campus of Beijing University. The concerts often took place in either the center of the city, or in the eastern part. Aside from my vivid memories of these concerts, Beijing in those days was also marked by the night rides on the ring roads in the little yellow vans, or bread taxis as they were called, back from the rock venue to the campus. Not hindered by traffic, the city would pass

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Foreword We wish to express gratitude to the remarkable women who participated in the poetry therapy groups described in this article. These participants, as well as other people resisting violence, continually inspire us and support us to grow our collaborative anti-violence theory and practice. We are deeply grateful for the important work of the Response-Based Practice Dignity Team of practitioners/social justice activists (see Centre for Response-Based Practice, 2018 ). The article title – ‘Poetic licence to write resistance: women resisting intimate

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537 Journal of Gender-Based Violence • vol 2 • no 3 • 537–46 • © Centre for Gender and Violence Research 2018 University of Bristol 2018 • Print ISSN 2398-6808 • Online ISSN 2398-6816 https://doi.org/10.1332/239868018X15409765841960 open space Women Like That: a poetic exploration into the complexities of intimate partner abuse Amelia Walker, amelia.walker@unisa.edu.au University of South Australia, Australia ‘Women Like That’ is a poem written after overhearing a stranger say, in reference to domestic abuse, that they couldn’t understand ‘why women like

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The Poetics of Letting Go

This book invites the reader to think about collaborative research differently. Using the concepts of ‘letting go’ (the recognition that research is always in a state of becoming) and ‘poetics’ (using an approach that might interrupt and remake the conventions of research), it envisions collaborative research as a space where relationships are forged with the use of arts-based and multimodal ways of seeing, inquiring, and representing ideas.

The book’s chapters are interwoven with ‘Interludes’ which provide alternative forms to think with and another vantage point from which to regard phenomena, pose a question, and seek insights or openings for further inquiry, rather than answers. Altogether, the book celebrates collaboration in complex, exploratory, literary and artistic ways within university and community research.

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This book is concerned with the poetics of research, that is the art of doing collaborative research. The reader is introduced to some key terms, including polyphony, enchantment and worthiness, that can guide a researcher through the journey of working with people and making sense together.

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This gives a flavour for the questions you might ask in collaborative interdisciplinary work with young people. It provides an account of a real-life experience of doing collaborative questioning in practice.

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This piece is an encounter with a school which went wrong, but something was retrieved. It shows how it is important to factor potential failure into collaborative research. It is also about what happens when a team of artists go into a school and work together.

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