Catherine Gander
Biographic Data
| ID | 3947736 |
|---|---|
| NAME | Catherine Gander |
| GIVEN NAMES | Catherine |
| FAMILY NAME | Gander |
| SIGNATURE | GANDER C |
| AFFILIATIONS | National University of Ireland, Maynooth |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Re-visioning the Archive
This essay examines ‘permanent impermanence’ as a key aesthetic to the work of Chilean poet and artist Cecilia Vicuña. It traces Vicuña’s persistent making, unmaking, and remaking of what she has termed her arte precario from the 1960s to the present to consider her practice of re-versioning as a form of radical archivism, informed by socialist, Indigenous practices of community and care. Underpinning the essay are two animating concepts: metapho…
Black and White Landscapes
In this essay, I explore how the contemporary black female artists Carrie Mae Weems and Claudia Rankine work with photography and text to develop what I call, after the famous 1975 American landscape photography exhibition, a new, anticolonial, topographics. Connecting the geographical and anatomical meanings of the word “topography,” I approach their works via the phenomenology of Sara Ahmed and Frantz Fanon, tracing how the two artists decentre…
Rereading Muriel Rukeyser's The Life of Poetry
Muriel Rukeyser’s The Life of Poetry is a difficult text to define. Written first as a series of lectures between 1940 and 1948, and published in 1949, the book is partly a defence of poetry as a vital means of truthful communication; partly a clear-eyed commentary on American culture and social realities in the midtwentieth century; partly a wide-ranging exposition of the relationality of all forms of human knowledge; partly a memoir of the most…
Poetry as embodied experience
This essay reads Muriel Rukeyser’s The Life of Poetry (1949) as a vital account of pragmatist aesthetics in the vein of John Dewey’s Art as Experience (1934). It argues that Rukeyser’s treatise is an exercise in embodied cultural experience that draws upon the key pragmatic aesthetic tenets of pluralism and naturalism – i.e. the understanding that knowledge is derived from a living organism’s mind–body interaction with its environment. Further, i…
Facing the Fact
In 1939, the small format picture magazine Coronet featured two photo- textual experiments. These were arranged as a “portfolio of photographs” supported by a poetic prose “narrative” by Muriel Rukeyser. They were published in the September and October issues, and were titled, respectively, “Adventures of Children” and “Worlds Alongside.” The photo-narratives were experimental not least in the fact that they did not adhere to established contempo…
Introduction
The senses of Muriel Rukeyser's The Book of the Dead
When Muriel Rukeyser travelled to Gauley Bridge in 1936 to report on the industrial disaster that had led to the deaths of over 700 miners, her findings led her to write what is arguably her masterpiece – the 1938 poem series The Book of the Dead. Of all Rukeyser's writings, this hybrid work of documentary techniques and metaphors, of testimony and elegy, has attracted the most critical attention. However, analyses of the series have tended to fo…
Poetry as embodied experience
This essay reads Muriel Rukeyser’s The Life of Poetry (1949) as a vital account of pragmatist aesthetics in the vein of John Dewey’s Art as Experience (1934). It argues that Rukeyser’s treatise is an exercise in embodied cultural experience that draws upon the key pragmatic aesthetic tenets of pluralism and naturalism – i.e. the understanding that knowledge is derived from a living organism’s mind–body interaction with its environment. Further, i…
The senses of Muriel Rukeyser's The Book of the Dead
When Muriel Rukeyser travelled to Gauley Bridge in 1936 to report on the industrial disaster that had led to the deaths of over 700 miners, her findings led her to write what is arguably her masterpiece – the 1938 poem series The Book of the Dead. Of all Rukeyser's writings, this hybrid work of documentary techniques and metaphors, of testimony and elegy, has attracted the most critical attention. However, analyses of the series have tended to fo…
The senses of Muriel Rukeyser's The Book of the Dead
When Muriel Rukeyser travelled to Gauley Bridge in 1936 to report on the industrial disaster that had led to the deaths of over 700 miners, her findings led her to write what is arguably her masterpiece – the 1938 poem series The Book of the Dead. Of all Rukeyser's writings, this hybrid work of documentary techniques and metaphors, of testimony and elegy, has attracted the most critical attention. However, analyses of the series have tended to fo…
Facing the Fact
In 1939, the small format picture magazine Coronet featured two photo- textual experiments. These were arranged as a “portfolio of photographs” supported by a poetic prose “narrative” by Muriel Rukeyser. They were published in the September and October issues, and were titled, respectively, “Adventures of Children” and “Worlds Alongside.” The photo-narratives were experimental not least in the fact that they did not adhere to established contempo…
Introduction
Rereading Muriel Rukeyser's The Life of Poetry
Muriel Rukeyser’s The Life of Poetry is a difficult text to define. Written first as a series of lectures between 1940 and 1948, and published in 1949, the book is partly a defence of poetry as a vital means of truthful communication; partly a clear-eyed commentary on American culture and social realities in the midtwentieth century; partly a wide-ranging exposition of the relationality of all forms of human knowledge; partly a memoir of the most…
Poetry as embodied experience
This essay reads Muriel Rukeyser’s The Life of Poetry (1949) as a vital account of pragmatist aesthetics in the vein of John Dewey’s Art as Experience (1934). It argues that Rukeyser’s treatise is an exercise in embodied cultural experience that draws upon the key pragmatic aesthetic tenets of pluralism and naturalism – i.e. the understanding that knowledge is derived from a living organism’s mind–body interaction with its environment. Further, i…
Black and White Landscapes
In this essay, I explore how the contemporary black female artists Carrie Mae Weems and Claudia Rankine work with photography and text to develop what I call, after the famous 1975 American landscape photography exhibition, a new, anticolonial, topographics. Connecting the geographical and anatomical meanings of the word “topography,” I approach their works via the phenomenology of Sara Ahmed and Frantz Fanon, tracing how the two artists decentre…
Re-visioning the Archive
This essay examines ‘permanent impermanence’ as a key aesthetic to the work of Chilean poet and artist Cecilia Vicuña. It traces Vicuña’s persistent making, unmaking, and remaking of what she has termed her arte precario from the 1960s to the present to consider her practice of re-versioning as a form of radical archivism, informed by socialist, Indigenous practices of community and care. Underpinning the essay are two animating concepts: metapho…
Aesthetics (5 works) · Art (5 works) · Literature (4 works) · Philosophy (4 works) · Poetry (4 works) · Art history (3 works) · Photography and Visual Culture (3 works) · Epistemology (2 works) · History (2 works) · History (2 works)