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Justin A Joyce, Douglas Field, and Dwight A McBride
James Baldwin Review
Annalisa Oboe and Elisa Bordin

human rights’. 50 It is thus the state security imperative that has determined the increased relevance of the issues of trafficking and smuggling in the international policy agenda, particularly after the fall of the Berlin wall and the global war on terrorism, which have reinforced immigration controls at the ‘porous’ borders of Western countries, perceived as too vulnerable to migratory ‘invasions’. The definition of trafficking in persons, according to Art. 3 of the Palermo Protocol, consists of three elements

in Chris Abani
Abstract only
John Kinsella

protesters trying to save ancient woodland from being destroyed by the state and its capitalist overlords. An act of sabotage against logging machinery is very different from police charging down protesters with horses and batons. I know, because I have seen these things at first hand. To align acts of public terror with acts of ecological protection is not only to confuse the issues, but to exploit violent acts of terrorism in order to control other aspects of social and political freedom. To my mind, poetry must wrest control of

in Beyond Ambiguity
The Secret History of Las Vegas
Annalisa Oboe and Elisa Bordin

the test sites’ ( SHLV , 205). Because of the place where they lived, they are the ones to carry the consequences of that environmental disaster. Downwinders are also nationalists, whose mission is ‘the eradication of dangerous military research in Nevada, Arizona, and Utah’ ( SHLV , 287) and whose actions as political activists transform into acts of patent terrorism. The bombing, described in the book from the point of view of the twins, infuses a sense of victory, with no remorse whatsoever for the crime committed, and

in Chris Abani
Abstract only
Lee Spinks

envisaging it as merely one episode in a universal – or certainly pan-national – conflict between terrorism and civil society. The full consequences of this mode of narrative presentation emerge in a key paragraph early in the novel: There had been continual emergency from 1983 onwards, racial attacks and political killings. The terrorism of the separatist guerrilla groups, who were fighting for a homeland in the north. The insurrection of the insurgents in the south, against the government. The counterterrorism of the

in Michael Ondaatje
Susan Watkins

her authorial and narrative voice when she returns to realism? How might it impact on her attempt to write about a subject like terrorism? In the Canopus in Argos: Archives series and in The Diaries of Jane Somers (1984) and The Good Terrorist (1985) questions of voice are central. When discussing her own voice, or style, in an interview with Eve Bertelsen, Lessing was asked about something she had once said about ‘deliberately “roughening” your style or avoiding perfecting a particular style’. 1 She replied

in Doris Lessing
An ethical reading
Ciaran Ross

reinterpretation’.7 And McGahern’s reinterpretation of the past might be viewed as stressing the need for an ethical leap out of politics and history, the ethical displacing the political, and providing a critical frame for the novel’s various political ‘discussions’. These focus essentially on the ‘new’ modern-day republican activist, represented by the character of Jimmy Joe McKiernan, McGahern thereby placing into question Irish nationalism’s negative legacy of sectarian violence and terrorism. critique of irish republicanism  51 Centring his last novel on the life of a

in John McGahern
Hakim Abderrezak

views of the global South into a ­Western-dominated epistemology. The films Harragas and Io, l’altro were directed by Merzak Allouache and Mohsen Melliti respectively. My choice of these two productions is motivated by my intention to examine clandestinity from wide-ranging angles, including diverse spoken languages in the region (Arabic, French, and Italian). Here, I will focus on ethnicity, gender, class, media, and terrorism. One may legitimately wonder why a film in Italian should find a place in a volume focusing on Maghrebi-French works. I am including Io, l

in Reimagining North African Immigration
Johnno, An Imaginary Life, Child’s Play and 12 Edmondstone Street
Don Randall

orientations and concerns. Woods, in a fairly representative reading, finds that the work is a ‘metafictional’ examination of ‘the novel form’; its ‘gaps’ are intended to undermine ‘the self-contained, complete world of the realist novel’.21 In these reflections one can clearly discern the possibility of considering the novel as a kind of allegory in the postmodern manner. Given the prominence of politically motivated violence, what is called ‘terrorism’, in the Italy of the 1970s (that is, in the years immediately preceding Child’s Play’s first publication in 1981), it is

in David Malouf
Abstract only
Maria Holmgren Troy, Elizabeth Kella, and Helena Wahlström

kinship and home. We propose that in these times of perceived crisis and urgency – marked by the new social movements of the 1980s and 1990s as well as the US response to international terrorism after 2001 – the orphan has become an increasingly significant literary figure, particularly useful for explorations of what it takes to make home in the USA. Orphans are mobilized anew by contemporary writers to explore a time of change, social upheaval, and crises in national identity. Our study builds on scholarship that explores the connection between national crisis and the

in Making home