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The core idea of seriality is repetition, and the inability to avoid repetition.
But a motif of seriality adds to the dualist containment techniques already mentioned that work against Rutherford's (and especially the readers') Allmuserian perception.
That pivotal 1989 issue of VPR on "Critical Theory and Periodical Research" included what remain some of the most informative essays in the field on topics ranging from typology, seriality, paratextual elements, missing elements, preservation, heterogeneity, authorship, and reading practices to the impact of poststructuralism on historical and literary methodologies.
Seriality is part of Kassebohmer's response, combined with nonironic attempts to capture nature in a work of art.
They had to offer viewers a new mode of identification with their series, indeed with their very seriality.
Testing, which opened at Auckland's Masterworks Gallery in March 2011, continued this wider palette, in familiar Parker narratives of still life and seriality.
Jack Spicer's Billy the Kid, he seeks to demonstrate, reveals Spicer's love for Billy as an effect of the poem's serial practice and thus allows for the sustenance of lyrically inscribed persons, even as seriality has previously been seen as a zone of depersonalization.
Onodera's 365 films, in their flow and their seriality, and in their toy-like apparatus, constitute another world.
And it is for this reason, precisely, that the most appropriate points of reference to Freedland's work should be drawn from a certain features of post-minimalist sculpture: namely, the notion of "artifact" has been consciously redefined as the contentious ground between the uniqueness of the artistic gesture and the seriality of mass produced (i.
Wordsworth redefines daily life as a state outside the uniform seriality that the Preface associated with newspapers, deliberately depicting a world in which the concept of dailiness, which Jerome Christensen has associated with journalism and bulletins from the war in this period, is returned to its natural cycle.
Gieri discusses two ways in which New Italian Cinema's obsession with memory responds to the void of memory that has plagued Italian cinema since the '70s: the representation of repetition through simulacra, which provides narratives that forget but still offer resistance through contemporary forms that represent a historical consciousness (as in the cinema of Soldini and Salvatores), as well as resistance to the seriality and homologation of the mass media (as exemplified in the cinema of Moretti and Amelio).
The larger argument makes the claim that by their sustained common focus, their concern for objectivity, their timeliness, and their appearance of seriality, this particular archive attests to the beginnings of journalism.