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The writers, the artificers and the livery companies
Tracey Hill

Lord Mayor’s Show was a suitably splendid reflection of the status of the role it inaugurated. The celebration of the glory reflected on the Company by a mayoral incumbent was often informed by a competitive awareness of what the other Great Twelve were capable of doing, so competition between the Companies also played a part in their preparations. Archer notes that ‘companies tried to outbid each other in the sumptuousness of their display, and kept a jealous eye on the practice of the others’.5 When the Merchant Taylors heard that the Goldsmiths had purchased an

in Pageantry and power
Katariina Kyrölä

for those that live with the trauma of everyday racism, or that every black person would be equally upset or anxious about a representation of racism. Such ‘competitions’ of what kind of content wounds more, or who are the ones most vulnerable to potentially triggering content, come up easily when trigger warnings become standard practice, Halberstam (2017) points out. On the other hand, these ‘competitions’ that Halberstam critiques are also direly necessary in order to not accept or condone the claims to victimhood by members of structurally privileged groups

in The power of vulnerability
Open Access (free)
Peter Morey

to square with the demands of daily life and family commitments. In one respect, however, it appears that Mistry became a writer almost by accident. Prompted by his wife to enter the first Hart House Literary contest, he took a few days’ sick leave from the bank, settled down at the typewriter and, over a long weekend, drafted the story that would prove to be the competition’s winning entry, ‘One Sunday’. Apart from a few prescribed Morey_Mistry_01_Chap 1 3 9/6/04, 4:06 pm 4 Rohinton Mistry forays at school, Mistry has asserted that this ‘was the first time I

in Rohinton Mistry
Anu Koivunen, Katariina Kyrölä and Ingrid Ryberg

measure levels of vulnerability, or if such measurement or ‘competition’ is desirable or possible at all. If a more severe injury or vulnerability should lead to more visibility and being more in the centre of campaigning, what is to be done about the vulnerability that visibility can bring, for example, to trans women of colour who may survive by passing as cis? Many have doubted whether the #MeToo campaign can actually produce the kinds of changes that would be needed on societal and institutional levels, or if it will remain too focused on confession and personal

in The power of vulnerability
Open Access (free)
The Republic and Northern Ireland since 1990
Michael Parker

sidelined and ignored unionist opinion. When her candidacy as an independent was first mooted, few would have credited her with much chance of securing the post, particularly in a competition which included such experienced and gifted politicians as Fianna Fáil’s Brian Lenihan or Fine Gael’s Austin Currie. Yet following an inspired and energetic campaign – and in spite of mean-spirited, chauvinist, personalised attacks on her – she triumphed in the second count. Tellingly, in a victory speech she thanked the women of Ireland ‘who instead of rocking the cradle rocked the

in Irish literature since 1990
Revolutionary nationalism and women’s representation in Ngugi wa Thiong’o
Elleke Boehmer

rather than with their male associates. With Wariinga certainly, perhaps even more so than with Matigari’s Guthera, Ngugi turns the heat up high. After her experience at the Devil’s Feast, a satirical competition to choose the most successful capitalist thieves and robbers in the world, Wariinga finds a new purpose in life, the struggle for a more equitable social system, and changes accordingly. The reader is not allowed to miss a detail. Wariinga, we are told, new ‘heroine of toil’, simultaneously ‘black beauty’ and ‘our engineering hero’, has said ‘goodbye to being

in Stories of women
Open Access (free)
Postcolonial women writers in a transnational frame
Elleke Boehmer

addressing the historical movements of people, are founded upon a critique of fixed origins and ethnic absolutes: in Avtar Brah’s words, diaspora ‘takes account of a homing desire, as distinct from a desire for a “homeland”’.8 As Paul Gilroy influentially argues in The Black Atlantic, cunningly shifting postcolonial and cultural studies preoccupations from ‘roots’ to ‘routes’, modern black identities were developed in motion, through the transmission of peoples and cultural influences, through encounter and dialogue, rather than by way of a competition between static entities

in Stories of women
Crossing the (English) language barrier
Willy Maley

but on the nature and means of the writing. (1992: 169) Ireland and Scotland are marginalised and minoritised, but this experience has provoked different reactions from writers in the two countries. My title suggests a contest of some kind, a battle of the bards, and it would be tempting to referee some stiff competition in the dead poets society by reading Yeats in the light of Burns, and MacDiarmid in the wake of Joyce. But despite my title, the intention is not to draw up bardic battle lines. My essay aims at comparison rather than conflict. As Edna Longley

in Across the margins
Sustainability in Kim Stanley Robinson’s Science in the Capital trilogy
Chris Pak

, for example, was commissioned by the Canadian army to write a narrative of future trends in conflict situations. The result, Crisis in Zefra (2005), uses the fictional African city of Zefra to explore future technological and strategic military innovations and to assess their potential risk and competition in a part of the world afflicted by resource scarcity. While Andrew Milner notes that sf may be value-free in the sense that the genre does not imply a priori political, ethical or aesthetic values, he does insist that it is value-relevant in that specific texts

in Literature and sustainability
Critical and historical contexts of the Lord Mayor’s Show
Tracey Hill

implies’.88 Even someone as expert on the Shows as Sheila Williams, however, is prone to the view that Bergeron is sceptical about. In her account of why John Taylor Critical and historical contexts 19 rather than Heywood wrote the 1634 Show, breaking the latter’s ubiquity in this decade, she writes that ‘one possible explanation lies in Heywood’s defection [to the masque] . . . Thus having risen from bourgeois to Court spectacle, Heywood may have declined to divide his energies.’89 Her use of the term ‘defection’ shows that the notion of competition or rivalry

in Pageantry and power