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Kate McLuskie and Kate Rumbold

-fulfilling’ activity. These alignments between ‘Shakespeare’, the social relations that structured cultural engagement and the contested relations within the twentieth-century cultural market have all but disappeared in the twenty-first century’s philanthropically supported reproduction of ‘Shakespeare’. However, they continue to exercise some leverage in the contest between academic

in Cultural value in twenty-first-century England
Paisid Aramphongphan

lifestyle choices that are too often seen simply as expressions of free will in his analysis of social classifications as refracted through cultural engagement and the bodily hexis: “In the ordinary situations of bourgeois life,” he writes, “banalities about art, literature or cinema are inseparable from the steady tone, the slow, casual diction, the distant or self-assured smile, the measured gesture, the well-tailored suit and the bourgeois salon of the person who pronounces them.” 30 And, much like in the use of language that signifies social classes, “the same

in Horizontal together
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Claire Hines

certainly successful at the box office, in other ways the 1970s and 1980s were challenging decades for Bond. It has been well documented that, having been central to popular culture in the mid-1960s, by the 1970s James Bond was in some ways less vital to it. This was in part demonstrated by the fact that the Bond films went from being involved in setting cultural trends like the spy craze, to exploiting trends in contemporary cinema and using elements of comedy and self-parody, though these shifts were necessary to keep Bond active via such cultural engagements, if not

in The playboy and James Bond
Yvette Hutchison

might relate to a certain slave belonging to a French consul in Egypt in 1926’ (Burns, 2006: 242);36 this slave is his ancestor. The play is complex and explores many post-colonial issues, including Africa’s relationship with Europe and vice versa; the role of stereotypes in cultural engagement; how context affects events; and how such events are remembered in and through history. As outlined earlier in this chapter, the scramble for Africa coincided with Europe’s industrial and territorial expansion, with intense inquiry into many aspects of science, not the least

in South African performance and archives of memory
P. G. Wodehouse, transatlantic romances in fiction, and the Anglo-American relationship
Finn Pollard

dividing his time physically between the two nations, a process connected to the London theatre of the time. This chapter will achieve two things. First, it places Wodehouse’s fictional representation of Anglo-American relations in the context of other contemporary cultural engagements, showing how he borrowed and challenged these alternative approaches. Second, it evaluates the significance of Wodehouse’s imagining, practicing, and advocating for closer Anglo-American relationships in these years, relationships that he saw in largely positive terms. His career and

in Culture matters
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The ‘presence’ of trauma
Patrick Duggan

, at children, it is perhaps not a play that we immediately associate with representations of traumata. However, it is this piece’s difference from others within the book that makes its inclusion so important, precisely because it highlights the pervasiveness of the traumatic structure of feeling I am identifying, and which is reflected in and formed by all strata of cultural engagement. In his lucid and valuable critical review of the production, Mark Berninger concludes that it was hugely popular, a Gesamtkunstwerk that ‘tuned in with the zeitgeist at the beginning

in Trauma-tragedy
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Performing the ‘promise’ of truthfulness: the hybrid practices of contemporary verbatim and testimonial theatre
Amanda Stuart Fisher

contexts, in Chapter 3 I expand this approach to consider other cultural engagements with testimonial performance and the different formations of truthfulness that are associated with it. In the following part of this introductory chapter, however, I want to shift focus in order to lay out some proposals about how we might most usefully think about the ethical dimensions of performing and making testimonial work. I will then move on to examine the political potency of this kind of theatre work and consider how contemporary performances of witnessing reconfigure the

in Performing the testimonial
Performing the ethico-political imperatives of witnessing
Amanda Stuart Fisher

Towards testimonial theatre Yet, this opens up other ethical problems, and not least because it means limiting the theatre maker’s cultural engagement with the world solely to one perspective and restricting the possibility for theatre to enact a form of political alliance with others. While speaking on behalf of those who are less privileged than ourselves can be tricky and problematic, then, such acts are also critical to the staging of political theatre and to the possibility of engaging with wider socio-political issues that impact on the lived experience of others

in Performing the testimonial
William Welstead

interactions between land and the living things that spend their lives on the peatlands (Anne Campbell n.d. ). From her multi-layered reading of the peatlands she is right to claim that this is ‘a known wilderness’. In this project, each of the artists kept a diary that is available to read on the Sexy Peat website. Campbell's intimate knowledge of these uplands, of the living things that can be found there if one looks carefully enough, and her long history of cultural engagement with the peatlands, were invaluable for the other artists

in Writing on sheep
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John Corner

cultural engagement and reproduction, whose growth and social permeation have produced a situation where degrees of ‘mediadependency’ (a reliance on media sources) are the norm, whether or not this is finally assessed as constituting a form of domination. Like other forms of political and social power, the power of the media can be met by expressions of criticism and of personal rejection and opposition but it is only really countered by kinds of practical intervention. 18 PART ONE Increased scope for effectively placing a check on mainstream media power can follow

in Theorising Media