.‘At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,’
T.S Eliot, ‘Burnt Norton’
The Still Point Journal is a literary journal for Arts and Humanities researchers in London, established in 2014. The Still Point aims to be a forum for dialogue, collaboration and experimentation, and offers a space for creatively writing through ideas in original forms.
The Journal features short fiction, poetry and visual art, although its particular focus is on non-fiction writing, related – however tangentially – to our research and the kind of rich thinking and exploration we do during the course of this research. These informal articles and journalistic pieces, free of footnotes or bibliographies, should feel more like a collection of conversations had with fellow researchers over coffee than academic papers. You might tell the story of a visit to an archive, or a pilgrimage in search of the traces of a writer or artist, or simply mull over some inspiration which came from an unexpected source… if you have a story to tell, we’d like to hear it.
‘The still point’ reflects our experience of being new researchers and represents those moments when we take time out of our days for deep thinking and reflection: when the world gets quiet but our minds are still racing.
2018-19 Editorial Team
Alasdair Cameron is a blog and journal editor at The Still Point and is a third-year PhD student in the Department of Music at King’s College London. His research examines the development of German sacred music in the years both leading up to and during the Third Reich and the impact of cultural trauma and national division on this genre following the Second World War.
Anna Katila joined the editorial board in 2018/2019 and is currently a second-year PhD candidate in the department of Comparative Literature at the King’s College London. Her research explores how creative responses to the genocides in Rwanda and Bosnia exist in dialogue with the legal discourses of the International Criminal Tribunals for the former Yugoslavia (ICTY) and Rwanda (ICTR).
Katie Arthur also joined the editorial board in 2018/2019. Currently in her first year of a PhD in the English Department at King’s College London, Katie is interested in how obscenity can be part of an emancipatory strategy of queer becoming. She is currently investigating how the works of William S Burroughs and John Waters can be understood as invoking a queer reading practice, negotiating both the texts’ construction of and consumption by queer interpretive communities.
Lizzie Hibbert is also new to the editorial board this year. She is a first-year PhD student in the English department at King’s College London. Her research examines concepts of time and history in British and Irish fiction between the World Wars. She is currently looking at the novels of D. H. Lawrence, Virginia Woolf and Ford Madox Ford in relation to deep time and landscape.
Fabian Broeker is a first year PhD student in the Culture, Media and Creative Industries department at King’s College London. He has a keen interest in filmmaking and utilising film as a method in academic research and output. His thesis will be constructed as a digital ethnography examining intimacy and mobility through dating apps in cosmopolitan cities. He joined the editorial board in early 2019.
Francesca Masiero is a second-year LAHP-funded PhD student in Renaissance Studies in the Italian Department at the School of European Languages, Culture and Society at UCL. Her PhD project explores literacy and learning in Latin and vernacular schools in the Veneto (1405-1509). She did her PGCE in Modern Foreign Languages and Education at King’s College London and her MA and BA in Modern and Contemporary Languages, Literatures and Civilizations at Ca’ Foscari University in Venice (Italy). She went on a post-graduate Erasmus for research as part of her MA at the Centre for the Study of the Renaissance at the University of Warwick. She has been recently involved in the ‘Digital Editing and the Medieval Manuscript Fragment’ project organised by UCL and Yale University to enhance my research in the field of digital humanities.
Alice Marinelli joined the editorial board in 2019. She is a first-year PhD candidate in the department of History of Art at University College London. Her research focuses on genre paintings realized by the Caravaggisti in early 17th-century Rome, exploring what role they played in the private collection of influential collectors. She is studying how the new space of the picture gallery, in contrast to religious commissions that proliferated during the Counter-Reformation, offered painters the opportunity to represent a reality usually excluded from high art, while experimenting with their pictorial vocabularies.