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Queen Elizabeth’s calendar muddle
Steve Sohmer

experience [time] seemed subject to arbitrary political manipulation.’ 12 Being compelled to celebrate Easter on the wrong day – when everyone knew it was the wrong day – had turned the English Easter services of 1598 into a theater of the absurd. Imagine yourself a devout Christian in an English Church on 16 April 1598 – reciting the anthem ‘Christ is risen,’ hearing the Gospel’s tale of

in Shakespeare for the wiser sort
Gender, sexual difference and knowledge in Bacon’s New Atlantis
Kate Aughterson

difference as central organising metaphors in his utopian discourse. Joabin’s commentary on European habits reads like a protestant sermon on marriage,35 whose ideals are only realised in Bensalem. In Joabin’s description, European practice is represented as the opposite to Bensalem’s ideal, in its economic and political manipulation of marriage, its use of courtesans, ‘delight in meretricious embracements’, adultery, ‘deflowering of virgins’, and ‘masculine love’ (477). The objects of Bacon’s critique uncannily echo those voiced by feminists, in particular the double

in Francis Bacon’s New Atlantis
Abstract only
Yvette Hutchison

/knowledge (i.e. spoken language, dance, sports, ritual)’ (2007b: 19, her italics). In pursuing the comparisons between these various kinds of embodiments of memory, Taylor reminds us that it is important to consider the ‘myths attending the archive’: that it is ‘unmediated . . . that it resists change, corruptibility and political manipulation’. Here the issues of hegemonic processes of mediation, those of ‘selection, memorization or internalization, and transmission’ (ibid., 21), become profoundly significant in relation to issues of contested memories. Taylor argues that

in South African performance and archives of memory
Shirley’s and Davenant’s protectorate entertainments
Rachel Willie

necessary to prevent idleness and discontent while also maintaining a stock of healthy cannon fodder in the event of war.69 However, Davenant goes on to argue that performances are not only beneficial as a way to appease boredom (and thereby prevent revolution) but may also be a tool for political manipulation: If morall representations may be allow’d (being without obscenenesse, profaneness, and scandall) the first argument may consist of the Spaniards barbarous Conquests in the West Indies and of their several cruelties there exercis’d upon the subjects of this Nation

in Staging the revolution
Mankiewicz (1953)
Andrew James Hartley

replaces ‘Now let it work’, comes less from satisfaction than relief at how easy it was. If Antony is an entertainer-ideologue, a DeMille pedalling bread and circus in the form of his crowd-pleasing epics and underhand political manipulation, the film can be seen finally as an anxious reflection on the industry itself. Once cinema had been identified as a tool to shape public consciousness, it became an

in Julius Caesar
Jago Morrison

Representatives, with key nationalist politicians offered lucrative political positions (such as the town clerkship of Lagos) in return for foregoing a seat in the central legislature. As Richard Sklar argues in his study Nigerian Political Parties, such episodes perversely lent support to Britain’s credibility, in its reticence towards full home rule and with its half-baked model of ‘semi-responsible government’.12 What they also set in train, however, was a culture of political manipulation and corruption that was to dog Nigeria for years after independence. A few pages later

in Chinua Achebe
Victor Skretkowicz

with didactic parable, as Andromana’s successful use of reverse psychology on Plangus is a textbook guide to political manipulation. Like Heliodorus’s Demainete, Andromana becomes a sexually aggressive stepmother whom Plangus spurns. She employs ‘cunning of malice’ to ‘overthrow him […] in the favour of his father’ (NA, p. 218). She arouses the

in European erotic romance