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New perspectives on immigration
Caroline Fache

6 Beur and banlieue television comedies: new perspectives on immigration Caroline Fache On July 17, 2013, Paris à tout prix (Kherici, 2013), a comedy about immigration, was released and received mixed reviews, despite decent numbers at the box office. Two days later in L’Express, journalist and movie critic Xavier Leherpeur assessed the production of French films about immigration in an article titled ‘L’immigration dans le cinéma français: un bilan mitigé’ (2013) (Immigration in French cinema: mixed reviews). In his review, Leherpeur also analyzes ‘la manière

in Reimagining North African Immigration
The tragedy (and comedy) of accelerated modernisation
Kieran Keohane and Carmen Kuhling

7 Millenarianism and utopianism in the new Ireland: the tragedy (and comedy) of accelerated modernisation KIERAN KEOHANE and CARMEN KUHLING There is a mode of vital experience – experience of space and time, of the self and others, of life’s possibilities and perils – that is shared by men and women all over the world today. I will call this body of experience ‘modernity’. To be modern is to find ourselves in an environment that promises us adventure, power, joy, growth, transformation of ourselves and the world – and, at the same time, that threatens to

in The end of Irish history?
Identities in flux in French literature, television, and film

Christiane Taubira's spirited invocation of colonial poetry at the French National Assembly in 2013 denounced the French politics of assimilation in Guyana . It was seen as an attempt to promote respect for difference, defend the equality of gay and heterosexual rights, and give a voice to silent social and cultural minorities. Taubira's unmatched passion for poetry and social justice, applied to the current Political arena, made her an instant star in the media and on the Internet. This book relates to the mimetic and transformative powers of literature and film. It examines literary works and films that help deflate stereotypes regarding France's post-immigration population, promote a new respect for cultural and ethnic minorities. The writers and filmmakers examined in the book have found new ways to conceptualize the French heritage of immigration from North Africa and to portray the current state of multiculturalism in France. The book opens with Steve Puig's helpful recapitulation of the development of beur, banlieue, and urban literatures, closely related and partly overlapping taxonomies describing the cultural production of second-generation, postcolonial immigrants to France. Discussing the works of three writers, the book discusses the birth of a new Maghrebi-French women's literature. Next comes an examination of how the fictional portrayal of women in Guene's novels differs from the representation of female characters in traditional beur literature. The book also explores the development of Abdellatif Kechiche's cinema, Djaidani's film and fiction, French perception of Maghrebi-French youth, postmemorial immigration, fiction, and postmemory and identity in harki.

Moving beyond agency
Saskia Huc-Hepher

recounts a pre-reflexive attraction to the culturally nuanced humour of English comedy acts, such as Benny Hill and Monty Python. ‘I’ve always been fascinated by England’, Séverine explains, ‘beginning when I was a teenager through “cheap comedy” programmes; I soon became interested in English humour which I found endearing, so … I was drawn to English very early on.’ In a space-culture-language conflation, and a progression from curiosity to attraction, Séverine bears witness to the multidimensionality of habituation. The German language of her schooling and her

in French London
Richard Werbner

out the interest in distinct genres of ritual drama, at the least tragedy and comedy. I will argue that Turner’s approach mistakenly scripts a heroic tragedy around one leading character, the spirit known as Kavula, and above all, a perplexing moment, his beheading. Against that, my approach finds a comedy, from a male-biased perspective and with male body humour, in which a heroine is restored to well-being, beyond her obstacles, but still as a comic figure of fun, even derision. Furthermore, I want to extend the theoretical value of Chihamba to arguments about

in Anthropology after Gluckman
Why some of us push our bodies to extremes
Author: Jenny Valentish

This book is about people willing to do the sorts of things that most others couldn't, shouldn't or wouldn't. While there are all sorts of reasons why people consume substances, the author notes that there are those who treat drug-taking like an Olympic sport, exploring their capacity to really push their bodies, and frankly, wanting to be the best at it. Extreme athletes, death-defiers and those who perform incredible stunts of endurance have been celebrated throughout history. The most successful athletes can compartmentalise, storing away worry and pain in a part of their brain so it does not interfere with their performance. The brain releases testosterone, for a boost of strength and confidence. In bondage, discipline, sadism and masochism (BDSM) play, the endogenous opioid system responds to the pain, releasing opioid peptides. It seems some of us are more wired than others to activate those ancient biological systems, be it through being caned in a dungeon during a lunchbreak or climbing a sheer rock wall at the weekend. Back in 1990, sociologist Stephen Lyng coined the term 'edgework', now frequently used in BDSM circles, as 'voluntary pursuit of activities that involve a high potential for death, physical injury, or spiritual harm'.

The Manchester School, colonial and postcolonial transformations
Author: Richard Werbner

Anthropology after Gluckman places the intimate circle around Max Gluckman, his Manchester School, in the vanguard of modern social anthropology. The book discloses the School’s intense, argument-rich collaborations, developing beyond an original focus in south and central Africa. Where outsiders have seen dominating leadership by Gluckman, a common stock of problems, and much about conflict, Richard Werbner highlights how insiders were drawn to explore many new frontiers in fieldwork and in-depth, reflexive ethnography, because they themselves, in class and gender, ethnicity and national origins, were remarkably inclusive. Characteristically different anthropologists, their careers met the challenges of being a public intellectual, an international celebrity, an institutional good citizen, a social and political activist, an advocate of legal justice. Their living legacies are shown, for the first time, through interlinked social biography and intellectual history to reach broadly across politics, law, ritual, semiotics, development studies, comparative urbanism, social network analysis and mathematical sociology. Innovation – in research methods and techniques, in documenting people’s changing praxis and social relations, in comparative analysis and a destabilizing strategy of re-analysis within ethnography – became the School’s hallmark. Much of this exploration confronted troubling times in Africa, colonial and postcolonial, which put the anthropologists and their anthropological knowledge at risk. The resurgence of debate about decolonization makes the accounts of fierce, End of Empire argument and recent postcolonial anthropology all the more topical. The lessons, even in activism, for social scientists, teachers as well as graduate and undergraduate students are compelling for our own troubled times.

Humour and narrative control on stage with Ayşe Şahin
Annedith Schneider

critique as mere ‘entertainment’, comedy is undeniably a unique and powerful form of communication. (Gilbert 2004: xii) Gilbert’s observations seem applicable to many forms of comedy, not only stand-up. In any case, while Şahin’s performance is not stand-up comedy in the strict sense, it shares many characteristics of stand-up. Admittedly, Şahin never steps out of her role and does not speak as her real-life self on stage as stand-up comics usually do. It is also true that stand-up comedy usually does not have a single narrative from the beginning to the end of the show

in Turkish immigration, art and narratives of home in France
Modern merchant princes and the origins of the Manchester Dante Society
Stephen J. Milner

principal signs of condemnation in the pictured Inferno’.37 As his lecture built, Italy and the works of Renaissance master craftsmen such as Ambrogio Lorenzetti, Ghiberti, Leonardo da Vinci, Michelangelo, and Veronese figure as exemplary instances of the primacy of cultural worth over exchange value in the battle between monetary and cultural capital. Significantly, Ruskin chooses Dante and Homer as the authors made available to the poor man as a result of the invention of mechanised printing and moveable type. He also placed the opening words of Dante’s Divine Comedy

in Culture in Manchester
Elleke Boehmer

-and-miss way, one of which may eventually work better than the current one. No, we have ‘to reconceive the object of discontent’. This too, Scott says, is a problem of narrative: of thinking outside the mythic frame–romance, comedy, epic or tragedy – in which we are effectively caught. Thus if America is currently beginning to think of itself as an empire not unlike ancient Rome – heading for the same decline, as several commentators report – then perhaps a new story, differing from the romance of liberation, is entering the frame. 6 But here a question arises. How

in ‘War on terror’