The Peterloo Massacre was more than just a Manchester event. The attendees, on
whom Manchester industry depended, came from a large spread of the wider textile
regions. The large demonstrations that followed in the autumn of 1819,
protesting against the actions of the authorities, were pan-regional and
national. The reaction to Peterloo established the massacre as firmly part of
the radical canon of martyrdom in the story of popular protest for democracy.
This article argues for the significance of Peterloo in fostering a sense of
regional and northern identities in England. Demonstrators expressed an
alternative patriotism to the anti-radical loyalism as defined by the
authorities and other opponents of mass collective action.
natural explanation in spite of empirical evidence to
the contrary. In the earlier play, the irrational sceptics are contrasted
with the reasonable and unbiased Arthur who believes, justifiably
and correctly, in the reality of witchcraft. In The Lancashire Witches,
however, the contrast is not with reasoned belief but with religious
fanaticism. The Catholic priest, Tegue, wishes to see all who refuse
to accept the authority of the Pope burned for heresy at Smithfield
(iii.326); he is prepared to die for his cause and gleefully discusses the
possibility of being martyred
interestingly in recent times is in Renaissance studies.
For example, Richard Burt, in his book Licensed by Authority: Ben
Jonson and the Discourses of Censorship,3 has attempted to rethink
the problem of censorship in the early modern period in ways
that call into question some of the conceptions and assumptions
concerning censorship that have typically underpinned supposedly more ‘radical’ critiques of the workings of power and
authority in sixteenth- and early seventeenth-century England.
In particular, Burt describes an ‘ahistorical, moral definition of
the most positive steps Laurence takes.4 In the
case of Sibylle Lacan, reading her text through a Lacanian framework risks
reducing her account of an emotional and fragile journey towards a belief
in the self, via her father’s apparent rejection of her, to an illustration of the
intellectual authority of the father, whose fame and eminence she stresses
in her text. The eﬀect is circular: she escapes the emotional bind in which
she has been placed only to fall into the intellectual bind. Is there, then, any
Sibylle Lacan’s Un père
other way of reading the text
Nothing' has been at the centre of Samuel Beckett's reception and scholarship from its inception. This book explains how the Beckett oeuvre, through its paradoxical fidelity to nothing, produces critical approaches which aspire to putting an end to interpretation: in this instance, the issues of authority, intertextuality and context, which this book tackles via 'nothing'. By retracing the history of Beckett studies through 'nothing', it theorises a future for the study of Beckett's legacies and is interested in the constant problem of value in the oeuvre. Through the relation between Beckett and nothing, the relation between voice and stone in Jean-Paul Sartre and Beckett, we are reminded precisely of the importance of the history of an idea, even the ideas of context, influence, and history. The book looks at something that has remained a 'nothing' within the Beckett canon so far: his doodles as they appear in the Human Wishes manuscript. It also looks at the material history of televisual production and places the aesthetic concerns of Beckett's television plays. The book then discusses the nexus between nothing and silence in order to analyse the specific relations between music, sound, and hearing. It talks about the history of materiality through that of neurology and brings the two into a dialogue sustained by Beckett texts, letters and notebooks. The book investigates the role of nothing through three works called neither and Neither: Beckett's short text, Morton Feldman's opera, and Doris Salcedo's sculptural installation.
Reorienting the narrative of digital media studies to incorporate the medieval, Participatory reading in late-medieval England traces affinities between digital and medieval media to explore how participation defined reading practices and shaped relations between writers and readers in England’s literary culture from the late-fourteenth to early sixteenth centuries. Traditionally, print operates as the comparative touchstone of both medieval and digital media, but Participatory reading argues that the latter share more in common with each other than either does with print. Working on the borders of digital humanities, medieval cultural studies, and the history of the book, Participatory reading draws on well-known and little-studied works ranging from Chaucer to banqueting poems and wall-texts to demonstrate how medieval writers and readers engaged with practices familiar in digital media today, from crowd-sourced editing to nonlinear apprehension to mobility, temporality, and forensic materiality illuminate. Writers turned to these practices in order to both elicit and control readers’ engagement with their works in ways that would benefit the writers’ reputations along with the transmission and interpretation of their texts, while readers pursued their own agendas—which could conflict with or set aside writers’ attempts to frame readers’ work. The interactions that gather around participatory reading practices reflect concerns about authority, literacy, and media formats, before and after the introduction of print. Participatory reading is of interest to students and scholars of medieval literature, book, and reading history, in addition to those interested in the long history of media studies.
opposition to vertically organised authority. Nationalism, whether
expressed as cultural self-representation or as the demand for political enfranchisement, makes its appeal, or professes to make its appeal, to all citizens
equally: hence its worldwide attractiveness to feminists and reformers in quest
of democratic rights. Whereas dynastic or colonial structures signify hierarchy,
the controlling idea in nationalism is of a homogeneous, horizontally structured society: all are equally interpellated; all theoretically participate on the
In practice, however
question is the beauty
of the American dream for it is only as beautiful that the complex set connecting
industriousness, prosperity and liberal virtues have their truth as ideals both worthy
and capable of orienting a life. The beauty of the American dream as exemplified by
Seymour Levov physically and practically is the charismatic authority of ‘America’, the
idea of America.
While for the still not quite fully assimilated Jews of Newark the young Swede was
like an ‘Apollo’37 or ‘Zeus’,38 these signify only the pagan and secular nature of the
disparities reveal that scholarly accounts of
two mutually exclusive modes of Gothic incest ignore the interconnected
nature of incestuous representations.
The formation of male and female
paradigms of incest in the Gothic
Sexuality, questions of ownership,
inheritance, women’s subjugation to male authority, laws of
coverture and primogeniture and issues concerning gender roles pervade
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.