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The theme of the Anglo-Irish in Die Ringe des Saturn. Eine englische Wallfahrt
Helen Finch

4003 Baxter-A literature:Layout 1 9/9/13 13:02 Page 111 6 ‘LIKE REFUGEES WHO HAVE COME THROUGH DREADFUL ORDEALS’: THE THEME OF THE ANGLO-IRISH IN DIE RINGE DES SATURN. EINE ENGLISCHE WALLFAHRT Helen Finch INTRODUCTION Jorge Luis Borges’s short story ‘The Theme of the Traitor and the Hero’ (1944) sets its action ‘in an oppressed yet stubborn country – Poland, Ireland, the republic of Venice, some South American or Balkan state [. . .] for convenience’s sake; in Ireland, let us also say.’1 The short story deals with a fictional nineteenth-century Irish

in A literature of restitution
Sam Haddow

48 2 Two tales of my dying neighbours We can all be refugees Nobody is safe Benjamin Zephaniah, n.d. The refugee’s face At the time of writing, sixty-​five million people, or 1 per cent of the world’s population, have been displaced from their homes, with an estimated 22.5  million of these identified as ‘refugees’ (McVeigh and Townsend, 17 September 2016). The British Red Cross reported in 2015 that 60 per cent of refugees come from five countries, with Syria (4.2 million) and Afghanistan (2.6 million) topping the list.1 It is a moot point to say that the

in Precarious spectatorship
Open Access (free)
Syrian displacement and care in contemporary Beirut
Ella Parry- Davies

the presence of new populations who had come to Lebanon from Syria as refugees. In June 2015, Mabsout began to compile a collection of photographs – mostly taken on streets in Hamra, a mixed neighbourhood with a particularly high refugee presence – that resonated with her focus. 2 Supporting herself financially as a part-time waitress in a restaurant on Hamra Street, Mabsout formed a friendship with a group of Syrian children who sold flowers at night outside the restaurant. Using her camera phone while Mabsout was at work, the children contributed to a body of

in Performing care
Rachael Gilmour

, in your substantive interview you were asked to state the numbers one to ten in Kinyarwanda … and also asked for the phrases ‘Good Morning’ and ‘Goodbye’, you wrote your answers down phonetically because you could not write in the language … it has been decided that although written phonetically you did not get all of them correct … Your lack of basic knowledge of the Kinyarwanda language suggests that you are not a genuine national of Rwanda.1 In 2005, a young Rwandan refugee, known in Jan Blommaert’s account of his case as Joseph Mutingira, had his claim for UK

in Bad English
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Manchester and the devolution of British literary culture
Corinne Fowler and Lynne Pearce

literature that we found, this study engages with texts which explore the kinds of immigrant experience that do not figure in comic songs such as Wood’s. In this book, therefore, we attend closely to writers’ collective exploration of the ways in which the city’s refugees and immigrants have, together, integrated Manchester into the world.2 Close attention to both diasporic and devolved literary cultures can add to our existing understanding of, in Susheila Nasta’s words, ‘the extent to which our visions of the national have been built on migrant and diasporic, colonial

in Postcolonial Manchester
Critical essays on W. G. Sebald

In an essay "Ein Versuch der Restitution (An Attempt at Restitution)" delivered as a form of a speech at the opening of Stuttgart's House of Literature, W. G. Sebald asked about the usefulness of literature. This book illustrates some of the recurring concerns of, and tensions in, Sebald's writing: the interanimation of historical and literary discourses, and the clash of individual and collective memories. The coincidence of life and death, and the collision of documentary evidence with the contingent powers of the imagination are also explored. The first set of essays is devoted to issues of translation and style, and explores the revisionist potential of translation, and the question of translation into Sebald's poetry. It is argued that Sebald sought to follow Franz Kafka's stricture through the strategic deployment of 'unwords'. The book examines Sebald's prose works with a reading of Vertigo as an exercise in Surrealist literary historiography, and suggests that The Emigrants can be read as a contest between vision and obscurity. The implications of historical blind spots are pursued in the reading of Anglo-Irish themes in The Rings of Saturn. The various fragments of Sebald's aborted 'Corsica Project' offer a precious glimpse into a work-in-progress. The book investigates the extent to which H.G. Adler's work functions as a key intertext for Austerlitz, and helped determine Sebald's role and identity as a writer attempting to render aspects of the Holocaust. It also explores the two key aspects of Sebald's aesthetic technique, namely prose and photography.

Theatre and image in an age of emergencies
Author: Sam Haddow

This book is about the relationship between emergencies and the spectator. In the early twenty-first century, ‘emergencies’ are commonplace in the newsgathering and political institutions of western industrial democracies. From terrorism to global warming, the refugee crisis to general elections, the spectator is bombarded with narratives that seek to suspend the criteria of everyday life in order to address perpetual ‘exceptional’ threats. I argue that repeated exposure to these narratives through the apparatuses of contemporary technology creates a ‘precarious spectatorship’, where the spectator’s ability to rationalise herself, or her relationship with the object of her spectatorship, is compromised.

In terms of the ways in which emergencies are dramatized for the spectator, this book focuses primarily on the framing and distribution of images. Because images are cheap and easy to produce; because they can be quickly and limitlessly distributed; because they are instantly affective and because they can be easily overwritten, they have become a pre-eminent tool in the performance of emergencies. In response to this, the book proposes theatrical performance as a space in which the relationship between the spectator and emergencies may be critically examined, and I analyse a range of contemporary theatrical pieces which challenge the spectator under the aegis of emergencies.

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Author: Rachael Gilmour

At a time when monolingualist claims for the importance of ‘speaking English’ to the national order continue louder than ever, even as language diversity is increasingly part of contemporary British life, literature becomes a space to consider the terms of linguistic belonging. Bad English examines writers including Tom Leonard, James Kelman, Suhayl Saadi, Raman Mundair, Daljit Nagra, Xiaolu Guo, Leila Aboulela, Brian Chikwava, and Caroline Bergvall, who engage multilingually, experimentally, playfully, and ambivalently with English’s power. Considering their invented vernaculars and mixed idioms, their dramatised scenes of languaging – languages learned or lost, acts of translation, scenes of speaking, the exposure and racialised visibility of accent – it argues for a growing field of contemporary literature in Britain pre-eminently concerned with language’s power dynamics, its aesthetic potentialities, and its prosthetic strangeness. Drawing on insights from applied linguistics and translation studies as well as literary scholarship, Bad English explores contemporary arguments about language in Britain – in debates about citizenship or education, in the media or on Twitter, in Home Office policy and asylum legislation – as well as the ways they are taken up in literature. It uncovers both an antagonistic and a productive interplay between language politics and literary form, tracing writers’ articulation of linguistic alienation and ambivalence, as well as the productivity and making-new of radical language practices. Doing so, it refutes the view that language difference and language politics are somehow irrelevant to contemporary Britain and instead argues for their constitutive centrality to the work of novelists and poets whose inside/outside relationship to English in its institutionalised forms is the generative force of their writing.

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Editor: Gregory Vargo

The first collection of its kind, Chartist Drama makes available four plays written or performed by members of the Chartist movement of the 1840s. Emerging from the lively counter-culture of this protest campaign for democratic rights, these plays challenged cultural as well as political hierarchies by adapting such recognisable genres as melodrama, history plays, and tragedy for performance in radically new settings. A communal, public, and embodied art form, drama was linked for the Chartists with other kinds of political performance: the oratory of the mass platform, festival-like outdoor meetings, and the elaborate street theatre of protest marches. Plays that Chartists wrote or staged advanced new interpretations of British history and criticised aspects of the contemporary world. And Chartist drama intervened in fierce strategic arguments within the movement. Most notably, poet-activist John Watkins’s John Frost, which dramatises the gripping events of the Newport rising of 1839, in which twenty-two Chartists lost their lives, defends the rebellion and the Chartist recourse to violence as a means for the movement to achieve its aims. The volume’s appendices document over one hundred Chartist dramatic performances, staged by activists in local Chartist associations or at professional benefits at some of London’s largest working-class theatres. Gregory Vargo’s introduction and notes elucidate the previously unexplored world of Chartist dramatic culture, a context that promises to reshape what we know about early Victorian popular politics and theatre.

Rethinking verbatim dramaturgies

Responding to the resurgence of verbatim theatre that emerged in Britain, Australia, the United States and other parts of the world in the early 1990s, this book offers one of the first sustained, critical engagements with contemporary verbatim, documentary and testimonial dramaturgies. Offering a new reading of the history of the documentary and verbatim theatre form, the book relocates verbatim and testimonial theatre away from discourses of the real and representations of reality and instead argues that these dramaturgical approaches are better understood as engagements with forms of truth-telling and witnessing. Examining a range of verbatim and testimonial plays from different parts of the world, the book develops new ways of understanding the performance of testimony and considers how dramaturgical theatre can bear witness to real events and individual and communal injustice through the re-enactment of personal testimony. Through its interrogation of different dramaturgical engagements with acts of witnessing, the book identifies certain forms of testimonial theatre that move beyond psychoanalytical accounts of trauma and reimagine testimony and witnessing as part of a decolonised project that looks beyond event-based trauma, addressing instead the experience of suffering wrought by racism and other forms of social injustice.