Chloe Cannell Chloe Cannell i(20756322 works by)
Gender: Female
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1 Doing Collective Biography Differently by Incorporating Methods of Narrative Inquiry, Poetic Inquiry and Performance Studies into the Analysis of Writings-as-data Chloe Cannell , Elena Spasovska , Yuwei Gou , Alice Nilsson , Rebekah Clarkson , Corinna Di Niro , Nadine Levy , Amelia Walker , 2020 single work criticism
— Appears in: TEXT Special Issue Website Series , October no. 59 2020; 'This article reports on methods used to analyse creative writings as data in a collective biography research project undertaken by eight academics. All of us bear broadly feminist and/or queer outlooks, and all experience deep dissatisfaction with neoliberalism’s deepening on academia. We came together to witness shared struggles and imagine things otherwise. As outlined in Doing Collective Biography (Davies & Gannon 2006), collective biographers respond to themed writing prompts in a group workshop setting. The writings become data that the team analyses to generate, enrich and transform knowledges around the research theme. We followed these processes, but did collective biography differently by additionally incorporating analysis methods of narrative inquiry, poetic inquiry and performance studies. This article discusses the benefits and challenges these methods offered. Our objective is to share our learning with other researchers interested in pursuing similar projects.' (Publication abstract)
1 Becoming-game : An Assemblage of Perspectives on Challenges for Early Career Academics in Neoliberal Times Corinna Di Niro , Amelia Walker , Alice Nilsson , Rebekah Clarkson , Yuwei Gou , Elena Spasovska , Nadine Levy , Chloe Cannell , 2020 single work drama
— Appears in: TEXT Special Issue Website Series , October no. 59 2020; 'Our script Becoming-game is an assemblage in the spirit of Deleuze and Guattari’s (1987) concept of the assemblage as a contingent formation of elements that could equally be separate, differently formed and/or combined with other things altogether. It comprises fragments of our distinct creative writings around the theme of games from a collaborative creative writing research project in which we – eight academics from differing backgrounds, all bearing broadly feminist and/or queer outlooks – came together to share and compare our experiences and perspectives with the aim of realising strategies we can engage to resist inequality in and beyond academia today. Performing our assemblage enriched our appreciation of the multiple themes running in and across our writings – and thus of the complex games played in and through neoliberal academia. Theatre researcher and practitioner Di Niro directed our collective in translating the creative piece to a theatrical medium. We performed Becoming-game at the JM Coetze Centre’s ‘Scholarship is the New Conservative’ Symposium on 6 September 2019. Overall, this collaborative work speaks to games of power and privilege, especially although not only those of gender and late capitalist modes of production.' (Publication abstract)
1 Introducing Showpony : An Inclusive Space for Cross-arts Performance and Connection Heather McGinn , Chloe Cannell , Pablo Muslera , Lachlan Blackwell , Amelia Walker , 2020 single work criticism
— Appears in: TEXT Special Issue Website Series , October no. 59 2020; 'This collaborative paper argues that on-campus open mic events enrich university culture, which in turn enriches holistic learning and wellbeing. To demonstrate, we present four accounts of Showpony, our university’s monthly creative performance and pop up bar night. Originally held in a pub near campus, Showpony shifted into a student lounge space in early 2018. The move followed queerphobic and ableist discrimination against Showpony participants making continued use of the public venue untenable. Initially, we went to campus out of necessity: there is no other nearby venue with a suitably-sized, fully-accessible performance space. However, since moving, we recognise that operating on campus provides other benefits. Showpony nights intervene in and to degrees, cuts through the institutional space. Or, in Deleuze and Guattari’s terms, Showpony introduces something smooth into an otherwise striated territory. This prompts different ways of being in and working through the space, fostering styles of learning and interaction that don’t necessarily occur in lectures or tutorials. Our paper’s four accounts of Showpony encompass staff and student perspectives, including participant as well as organiser viewpoints. We aim to elucidate how Showpony has enriched our university culture, and to provide insights for those interested in running similar events.' (Publication abstract)
1 Queer Visibility and Belonging in YA Chloe Cannell , 2020 single work review
— Appears in: TEXT : The Journal of the Australian Association of Writing Programs , October vol. 24 no. 2 2020;
— Review of Kindred : 12 Queer #LoveOzYA Stories 2019 anthology short story 'Kindred: 12 Queer #LoveOzYA Stories, edited by Michael Earp, is a landmark collection of Young Adult (henceforth YA) short stories from established and emerging authors in Australia. The quote above from Benjamin Law reflects the shared and diverse experiences and voices from the LGBTQIA+ (lesbian, gay, bisexual, trans, queer, intersex, asexual, plus) community offered in the stories of this collection that unites these authors, this community and these stories beyond markers of identity. Sexuality and gender are the overarching link of these stories but, as the title suggests, kindred is the real theme as connections form and fracture between characters, whether they be romantic, sexual, familiar, friendship or platonic.' (Introduction)
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