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Sarah C.E. Ross and Elizabeth Scott-Baumann

-ranging European travel of any writer, let alone woman writer, in the mid-seventeenth century. Her works both bear the marks of these people and places and also reject these as Cavendish claims to prioritise unlearnedness and natural wit over social interaction and cultural engagement. This is as much a carefully constructed identity as Philips’s ‘Orinda’, though, as we will see from the evidence of her actual participation in intellectual culture. Margaret Cavendish was born to the Lucas family in Essex. She moved to Oxford with her sister and there became a maid of honour to

in Women poets of the English Civil War
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Kate McLuskie and Kate Rumbold

benefit of Shakespeare workshops as opposed to other forms of prison rec-reation; questions about the most effective ways of overcoming the ‘poverty of aspiration’ cannot be independently addressed because, when they enter the narrative, they spoil the story and break the spell. Discussion of the enabling conditions of cultural engagement undermines the agency of the central characters on which the

in Cultural value in twenty-first-century England
Adaptive symbiosis and Peake’s Presumption, or the fate of Frankenstein
Glenn Jellenik

Creature. Shelley, upon seeing Presumption , noted the productive attention to the Creature’s body: ‘[The Creature] presents his unearthly and monstrous person on the stage … I was much amused, and it appeared to excite a breathless eagerness in the audience’ ( The Life and Letters 95). And, as with any change, the adaptation’s increased focus on the body refocuses its textual/cultural engagements. For its part, the novel offers a creation scene without a manic moment of triumph. ‘[M]y candle was nearly burnt out, when, by the glimmer of the

in Adapting Frankenstein
Andrew Smith

between these states raises questions about the scientific taxonomies of the time, an analysis of which enables a reconsideration of the cultural engagements of the Gothic and how it relates to the wider fin de siècle world. Theories of evolution are key here, but in a precise way. Darwin may seem to be the obvious figure but Virginia Richter has noted how Aristotle’s notion of a great chain of being influenced theories of species development from the eighteenth century. A central concern in such theories

in Interventions
A tale of three women, if not more
R. Barton Palmer

a record, if a brief one, of a subculture that is of no little significance to modern French and even European social history, providing an analogue to the renowned British Free Cinema documentary, Momma Don’t Allow (1955), co-directed by Tony Richardson and Karen Reisz, which surveys the similar cultural scene in a North London jazz club. In fact, if Tristesse is officially an American film version of a French bestseller, it is remarkably infused with a profound sense of contemporary Frenchness; but such cultural engagement in the fictional text has more to do

in French literature on screen
Creations of diasporic aesthetics and migratory imagery in Chinese Australian Art
Birgit Mersmann

, curators and critics in the late 1980s and early 1990s was mainly oriented towards the West, i.e. the European countries, the United States, and Australia after it had reinforced its regional economic and cultural engagement with East Asia and the Asian-Pacific. The reasons for the massive exodus of Chinese mainland artists were two-fold. While some left their home country in response to the Tiananmen Square massacre in 1989 and the subsequent suppression of pro-democracy expressions, others took advantage of the global opening of the contemporary art scene, the global

in Art and migration
Artistic performances and commencement speeches from presidential couples
Andra Gillespie

). Eleanor Roosevelt publicly displayed her support of civil rights when, after the Daughters of the American Revolution refused to allow black opera singer Marian Anderson to give a concert at Constitution Hall, Roosevelt resigned the group and arranged for Anderson to sing at the Lincoln Memorial (Lusane 2011, 263). In this chapter, I  explore the symbolic importance of the White House’s cultural engagement. Two important embodiments of this are artistic performances and speeches to young people. I measure this by examining the types of musical art and artists showcased

in Race and the Obama Administration
Andrew Miles

questionnaires and standard participation surveys is that a significant number do after all turn out to be, or to have been at some time, engaged with the realm of legitimate culture. This highlights an important issue with the use of standard indicators for cultural engagement, which cannot account for the ways in which people, regardless of what they actually do, decide to identify – or not – as a particular type of participant. A number of non-users refer to a kind of incidental participation in formal culture, which is presented in largely instrumental terms. Often this

in Culture in Manchester
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Matthew S. Adams and Ruth Kinna

cultural engagement with gender, sexual politics and art and that these innovative currents were lost to the movement until the period of anarchism’s second wave, as a result of the violent repression of radicalism in the post-war years.64 The chapters by Ferguson, Antliff and Adams in this volume point to similar shifts in anarchist thinking. Neither the anarchists’ failure to galvanise mass resistance to the war nor the Bolsheviks’ seizure of the revolutionary initiative foreclosed on the possibility of collective action; mass anarchist movements survived the European

in Anarchism, 1914–18
Perspectives from Jammu and Kashmir, Cyprus and Bosnia-Herzegovin
Elena B. Stavrevska, Sumona DasGupta, Birte Vogel, and Navnita Chadha Behera

91 in the context of Peace and Conflict Studies does accord better attention to ‘the local agency’, this analytic lens suffers from two serious shortcomings. First, these are mostly perceived as ‘willing local partners’ – albeit cast in a subordinate position with the international agencies setting the peace agendas – or as ‘spoilers’ referring to those who refuse to yield to the international peace agendas. Second, it tends to ‘romanticise’ the local, which entails an uncritical acceptance of everything local in the name of ‘cultural engagement’ without

in Cultures of governance and peace