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  <title>OAR@UM Collection:</title>
  <link rel="alternate" href="https://www.um.edu.mt/library/oar/handle/123456789/15625" />
  <subtitle />
  <id>https://www.um.edu.mt/library/oar/handle/123456789/15625</id>
  <updated>2026-08-06T23:31:39Z</updated>
  <dc:date>2026-08-06T23:31:39Z</dc:date>
  <entry>
    <title>What would a new, attention-driven pedagogy look like?</title>
    <link rel="alternate" href="https://www.um.edu.mt/library/oar/handle/123456789/148400" />
    <author>
      <name />
    </author>
    <id>https://www.um.edu.mt/library/oar/handle/123456789/148400</id>
    <updated>2026-08-05T07:21:45Z</updated>
    <published>2024-01-01T00:00:00Z</published>
    <summary type="text">Title: What would a new, attention-driven pedagogy look like?
Abstract: In this long-form piece, Dr Benjamin Nickl, Discipline of Comparative Literature and&#xD;
Translation Studies (University of Sydney), Dr&#xD;
Christopher John Miller, Discipline of Media Studies (Macquarie University) and Dr&#xD;
Marija Grech, Department of English (University of Malta)&#xD;
explore the attention ecology within higher education, from current challenges to new ages.&#xD;
Through their interdisciplinary lens, they discuss the effects of our current ‘attention haze’ on&#xD;
learning environments and the necessity of recalibrating our educational approaches to foster&#xD;
sustainable attention and meaningful interactions amidst the clamour of modern distractions.</summary>
    <dc:date>2024-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>The art of puppetry</title>
    <link rel="alternate" href="https://www.um.edu.mt/library/oar/handle/123456789/148089" />
    <author>
      <name />
    </author>
    <id>https://www.um.edu.mt/library/oar/handle/123456789/148089</id>
    <updated>2026-07-24T10:27:34Z</updated>
    <published>2026-07-01T00:00:00Z</published>
    <summary type="text">Title: The art of puppetry
Abstract: Krista Bonello Rutter Giappone met up with Theatre Anon’s Liliana Portelli and Pierre Stafrace to discuss ancient and contemporary puppetry. Puppetry is an ancient performing art, with diverse origins and traditions all over the world. Theatre Anon started using puppets in their very first production – Voltaire’s Candide, in 1994. The company draws upon eastern and western traditions of puppetry, from shadow puppets (for example, in Agamemnon in 2006) to tabletop puppets and everything in-between. They have spent decades researching and experimenting. [excerpt]
Description: An online version of this article is available at the following link: https://x2.timesofmalta.com/20260714/sunday-circle/when-theatre-brings-the-inanimate-to-life/</summary>
    <dc:date>2026-07-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>The shadow : poems for the children of Gaza, by Ahmed Miqdad and John P. Portelli [Book review]</title>
    <link rel="alternate" href="https://www.um.edu.mt/library/oar/handle/123456789/147750" />
    <author>
      <name>Bonello Rutter Giappone, Krista</name>
    </author>
    <id>https://www.um.edu.mt/library/oar/handle/123456789/147750</id>
    <updated>2026-06-30T11:22:43Z</updated>
    <published>2024-01-01T00:00:00Z</published>
    <summary type="text">Title: The shadow : poems for the children of Gaza, by Ahmed Miqdad and John P. Portelli [Book review]
Authors: Bonello Rutter Giappone, Krista
Abstract: In their volume The Shadow: Poems for the&#xD;
Children of Gaza, the poets Ahmed Miqdad and&#xD;
John P. Portelli offer what they call a ‘poetry of&#xD;
resistance’ (2024: 7), the fruit of their long-distance&#xD;
collaboration and solidarity. This is a friendship&#xD;
forged in adversity, as they both contend with the&#xD;
ravages of the body and spirit through war (Miqdad)&#xD;
and cancer (Portelli).; For the most part, the poetry (particularly&#xD;
Miqdad’s) eschews metaphor: the images are literal,&#xD;
realised. As the ‘blood mixes with the flour I carry’&#xD;
(AM, ‘Blood and Flour’), we are taken beyond the&#xD;
visual, to the tactile, and physical. [excerpt]</summary>
    <dc:date>2024-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>CounterText : volume 12 : issue 1</title>
    <link rel="alternate" href="https://www.um.edu.mt/library/oar/handle/123456789/147370" />
    <author>
      <name>Callus, Ivan</name>
    </author>
    <author>
      <name>Corby, James</name>
    </author>
    <id>https://www.um.edu.mt/library/oar/handle/123456789/147370</id>
    <updated>2026-06-12T10:17:56Z</updated>
    <published>2026-01-01T00:00:00Z</published>
    <summary type="text">Title: CounterText : volume 12 : issue 1
Authors: Callus, Ivan; Corby, James
Abstract: - Table of Contents:; Editorial; Kevin Hart : The CounterText Interview. At the Margins of Mystery  - Kevin Hart and Robert Farrugia; Guest Editors’ Introduction: Frame/Framing - Paweł Kaczmarski and Marta Koronkiewicz; This is going to be about everything; or, Framing the Limits of the Post-Literary - Ivan Callus; Organic Unity in the Age of the Free Market: The Pragmatist Tradition and the Question of Frame - Adam Partyka; Rimbaud Framing Kiefer Framing Joyce - Rod Mengham; One Moment, Two Frames: The Peripheral Coast - Dragana Rankovic; Easels Warped My Flesh; or, Could Ansel Adams Win the World Press Photo of the Year? - Mateusz Zaboklicki; Framing Yourself: Autofiction and Form - Zuzanna Sala and Łukasz Zurek; Gordonalia: an excerpt from Situations - Ansgar Allen; Notes on Contributors</summary>
    <dc:date>2026-01-01T00:00:00Z</dc:date>
  </entry>
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