Border crossings : writing, confinement and the voice
thesisposted on 26.05.2017 by Hibberd, Lillian Margaret
In order to distinguish essays and pre-prints from academic theses, we have a separate category. These are often much longer text based documents than a paper.
This research project examines how the ‘voice’ functions as a significant device in my studio research. It argues that particular conceptions of the ‘voice’ and certain approaches to writing have the capacity to contend with the notion of the ‘border’. This research scrutinises how the ‘voice’ functions alongside other strategies of dissonance to make a ‘border crossing’ within aesthetic forms. It examines a wide range of approaches within literary and cinematic practice to support this assertion, and these approaches illustrate how artistic forms can traverse aesthetic borders. The study of cinematic and literary strategies of dissonance provides the framework for an analysis of the complex relationship between symbolic border crossings in aesthetic form and social and political realities. The exegesis draws on this field of enquiry in order to specifically investigate the role of writing and the ‘voice’ in my art practice, in correspondence with disciplines of cinema and literature. The studio research is centred on two artworks, First Love and Bordertown, and these projects employ writing in order to deal explicitly with the notion of the ‘border’ and the experience of confinement. By critically examining the ‘voice’ through my studio practice and across cinematic and literary disciplines, this research offers new approaches to writing as a contemporary art practice.